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SHAKESPEARE'S 



TRAGEDY OF 



Othello, the Moor of Venice 



EDITED, WITH NOTES 

BY 

WILLIAM J. ROLFE, Litt.D. 

FORMERLY HEAD MASTER OF THE HIGH SCHOOL 
j CAMBRIDGE, MASS. 



.ILLUSTRATED 



NEW YORK • : . CINCINNATI . : . CHICAGO 

AMERICAN BOOK COMPANY 



If 






LIBRARY o* CONGRESS 
Two Copies Received 

FEB | 1904 

^ Copyright £ntry 
CLASS *-~ XXc. No, 

U U / 

COPY S 



Copyright, 1903, by 
WILLIAM J. ROLFE. 



OTHELLO. 
W. P. I 



c t * c * * 



PREFACE 



This edition of Othello was first published in 1879. 
As now revised, it is substantially a new edition on the 
same general plan as the revised Merchant of Venice, 
Macbeth, Hamlet, and other plays that have preceded it. 

Many of the notes on textual variations have been 
either omitted or abridged. Those that have been 
retained are mostly on the passages in which different 
readings from the folio or the quarto have been adopted 
in the more important modern editions. For further 
information on this subject Dr. Furness's edition may 
be consulted. No teacher or critical student can afford 
to do without his encyclopedic volumes, in which all 
the readings and notes of the early and standard mod- 
ern editions are recorded or epitomized, together with 
large extracts from the best commentators and much 
admirable criticism from Dr. Furness himself. 

I have also omitted most of the " Critical Com- 
ments " from the introduction, as the books from 
which they were taken are now to be found in public 
or school libraries. For these extracts I have sub- 
stituted familiar comments of my own, and have added 
more of the same kind in the Appendix. A concise 
account of Shakespeare's metre has also been inserted 
as an introduction to the Notes. 

Minor changes have been made throughout the 
Notes. Some have been abridged, some have been 
expanded, and new ones have been added, including a 

5 



6 Preface 

considerable number in place of those referring to my 
editions of other plays. The book is now absolutely 
complete in itself. 

I believe that the new edition will be generally pre- 
ferred to the old one ; but both can be used, without 
serious inconvenience, in the same class or club. 



CONTENTS 

PAGE 

Introduction to Othello 9 

The History of the Play 9 

The Sources of the Plot 12 

General Comments on the Play 14 

Othello, the Moor of Venice 19 

Act I 21 

Act II 50 

Act III .78 

Act IV . . .110 

Act V . . . 137 

Notes 163 

Appendix 249 

Was Othello a Negro ? 249 

The Time- Analysis of the Play 256 

List of Characters in the Play ,256 

♦ 

Index of Words and Phrases explained . . . 259 




Arsenal at Venice 




General of Venice in Time of War 



INTRODUCTION TO OTHELLO, THE 
MOOR OF VENICE 



The History of the Play 

The first edition of Othello was a quarto, published in 
1622 with the following title-page : — 

THE I Tragoedy of Othello, | The Moore of Venice. | 
As it hath beene dinerse times acted at the | Globe, ind 
at the Black- Friers, by | his Maiesties Seruants, \ W?'kten 
3>> William Shakespeare. | LONDON, | Printed by N. O. 
for Thomas Walkley, and are to be sold at his | shop, at 
the Eagle and Child, in Brittans Bursse. | 1622. 

9 



io Othello 

This edition had the following preface : — 

"THE STATIONER TO THE READER 

"To set forth a booke without an Epistle, were like to the old 
English prouerbe, A blew coat tuithout a badge, & the Author being 
dead, I thought good to take that piece of worke upon mee : To 
commend it, I will not, for that which is good, I hope euery man 
will commend, without intreaty : and I am the bolder, because the 
Authors name is sufficient to vent his worke. Thus leauing euery 
one to the liberty of iudgement: I haue ventured to print this 
Play, and leaue it to the generall censure. 

" Yours, 

"Thomas VValkley." 

The next year it appeared in the first folio, where the 
text varies materially from that of the quarto, and was 
evidently printed from a different manuscript of the play. 

Othello was formerly reckoned one of the latest of the 
plays, being dated by the editors and critics at various 
points between 1611 and 16 14; but, according to the 
Accounts of the Masters of the Revels (published in 
1842) "The Moor of Venis " was performed "in the 
Bankettinge house att Whitehall" on "Hallomas Day 
being the first of Novembar," 1604. This and other 
similar entries were afterwards (1868) proved to be 
forgeries ; but they have since been shown to be based 
on facts. Internal evidence also, it is now generally 
agreed, proves that the play was written in or near 1604. 
Stokes {Chronological Order of 'Shakespeare } s Flays, 1878) 
shows that it was written before 1606 by the fact that in 
the quarto of 1622 (i. 1. 4) we find the oath " 'Sblood " 



Introduction n 

(God's blood), while this is omitted in the folio. This 
indicates that the quarto was printed from a copy made 
before the act of Parliament issued in 1606 against the 
abuse of the name of God in plays, etc. So "Zounds" 
and " by the mass " (in ii. 3) are found in the quarto, but 
not in the folio. 

It must, however, be borne in mind that at the date 
assumed for the production of Othello Shakespeare was 
in the full maturity of his powers. He had already 
written Hamlet, and Macbeth and Lear were soon to 
follow. It seems fitting that these " four great tragedies " 
should be associated in their time of composition as in 
the preeminent rank they hold among the poet's works. 
There is no other such group in the literature of any 
country or any age. 

As to the position which Othello is to hold among the 
four, the best critics do not agree ; but there have not 
been wanting those who assigned it the foremost place. 
Macaulay expresses the opinion that it " is perhaps the 
greatest work in the world." Wordsworth says : " The 
tragedy of Othello, Plato's records of the last scenes in 
the career of Socrates, and Izaak Walton's Life of George 
Herbert are the most pathetic of human compositions ; " 
and again, in one of his sonnets, referring to books, he 
says : — 

" There find I personal themes, a plenteous store, 
Matter wherein right voluble I am, 
To which I listen with a ready ear; 
Two shall be named, preeminently dear, — 



1 2 Othello 

The gentle lady married to the Moor, 

And heavenly Una with her milk-white lamb." 

The earliest known reference to the play is found in the 
Ms. diary of Hans Jacob Wurmsser von Vendenhagen, 
who accompanied Louis Frederick, Duke of Wurtemberg- 
Mumpelgard, in a diplomatic mission to England in 1610 
on behalf of the Protestant German princes. In this 
little volume, preserved in the British Museum, we read 
under date of April 10, 1610 : " S. E. [Son Eminence^ alia 
au Globe, lieu ordinaire ou Ton joue les commedies ; y 
fut represents l'histoire du More de Venise." There can 
be little doubt that this refers to Shakespeare's play. 

The Sources of the Plot 

The story of Othello appears to have been taken from 
the Heccatommithi of Giraldi Cinthio, an Italian novelist, 
first published at Monte-Regale, in Sicily, in 1565. The 
tale is short, not longer than a single act of Othello, and 
the following is an outline of it : — 

There lived at Venice a valiant Moor, held in great 
esteem for his military talent and services. Desdemona, 
a lady of marvellous beauty, attracted not by female fancy 
{appetito donnescd), but by his high virtues, became 
enamoured of the Moor, who returned her love, and, in 
spite of the opposition of her relatives, married her. They 
lived in great happiness in Venice until the Moor (he has 
no other name in the story) was chosen to the military 
command of Cyprus, whither his wife insisted on accom- 



Introduction 13 

panying him. He took with him a favourite ensign, a 
man of great personal beauty, but of the most depraved 
heart — a boaster and a coward. His wife is the friend of 
Desdemona. The ensign falls passionately in love with 
Desdemona, who, wrapped up in love of her husband, 
pays no regard to him. His love then turns to bitter 
hate, and he resolves to charge her with infidelity, and to 
fix the Moor's suspicions upon a favourite captain of his. 
Soon after, that officer strikes and wounds a soldier on 
guard, for which the Moor cashiers him. Desdemona 
endeavours to obtain his pardon ; and this gives the 
ensign an opportunity of insinuating accusations against 
her, and rousing the Moor's jealousy. These suspicions 
he confirms by stealing from her a favourite wrought hand- 
kerchief, and leaving it on the captain's bed. Then the 
Moor and his ensign plot together to kill Desdemona and 
her supposed lover. The latter is waylaid and wounded 
in the dark by the ensign. Desdemona is beaten to 
death by him also " with a stocking filled with sand " ; 
and then the Moor and he attempt to conceal their 
murder by pulling down the ceiling, and giving out that 
she was killed by the fall of a beam. The Moor becomes 
almost frantic with his loss and turns upon the ensign, 
whom he degrades and drives from him. The ensign 
revenges himself by disclosing the murder to the captain, 
upon whose accusation to the senate the Moor is arrested, 
tried, tortured, and then banished, and afterwards killed 
by Desdemona's relatives. 

Shakespeare owes to the tale only the general outline 



14 Othello 

of his plot, and the suggestion of the character of Des- 
demona, which", however, he has elevated as well as 
expanded. He is also indebted to Cinthio for the artful 
insinuations by which Iago first rouses the Moor's suspi- 
cions. But all else is essentially the poet's own. Cinthio's 
savage Moor and cunning ensign have scarcely anything 
in common with the heroic, the gentle, the terrible 
Othello, or with Iago's proud, contemptuous intellect, 
bitter wit, cool malignity, and " learned spirit." Cassio 
and Emilia owe to Shakespeare all their individuality; 
Roderigo, Brabantio, and the rest are entirely his 
creation. 

General Comments on the Play 

Coleridge was the first to point out — what some of the 
earlier, and, indeed, some of the later critics needed to be 
reminded of — that the passion of Othello is not alto- 
gether jealousy, but rather a " solemn agony " that the 
woman who had been to him the ideal of purity should 
prove to be a wanton. Jealousy, in the strict sense, has 
its origin in the man's own suspicious nature, and is 
generally groundless or based upon " trifles light as air " 
that are misconceived and magnified by foul surmise. It 
is nourished, as Massinger says, — 

" with imagined food, 
Holding no real ground on which to raise 
A building of suspicion she was ever 
Or can be false ; " 



Introduction 15 

or, as Hunter says, in commenting upon Iago's de- 
scription of it as 

"the green-eyed monster which doth mock 
The meat it feeds on " 

(not " make " it, as some alter the reading, though that 
is also true enough) : " Jealousy mocks the person who 
surrenders his mind to her influence, deluding him per- 
petually with some new show of suspicion, sporting with 
his agonized feelings, just as the feline tribe sport with 
the prey which they have got into their power." Ford, 
in the Merry Wives, and Leontes, in The Winter's Tale, 
are jealous ; the one with only comical, the other with 
almost tragical results, but both without the shadow of 
reason for their suspicions. But Othello, as he himself 
says, is " not easily jealous " ; and when Iago tells him he 
is — which he w T ould not have done if he had not known 
it was a lie — Othello, with honest indignation, replies : — 

" Why, why is this ? 
Think'st thou I 'd make a life of jealousy, 
To follow still the changes of the moon 
With fresh suspicions ? . . . 'T is not to make me jealous 
To say my wife is fair, feeds well, loves company, 
Is free of speech, sings, plays, and dances well; 
Where virtue is, these are more virtuous. 
Nor from mine own weak merits will I draw 
The smallest fear or doubt of her revolt, 
For she had eyes and chose me. No, Iago ! 
I'll see before I doubt, when I doubt prove ; 
And on the proof 'there is no more but this, 
Away at once with love or jealousy ! " 



1 6 Othello 

And it is not until Iago does make him " see " what seems 
to be " proof," and adds his own lying testimony con- 
cerning Cassio's talk in his sleep and other falsehoods no 
less incriminating, that he is compelled to believe Des- 
demona guilty. The evidence furnished by "honest 
Iago " would have convicted her of infidelity in a court 
of law. 

As Ulrici remarks, " Othello nowhere gives utterance 
to jealousy before he is excited and spurred on to it by 
Iago. Not a word of anxiety, of uneasiness, or of sus- 
picion passes his lips, not a thought of the possibility of 
Desdemona's infidelity is in his heart. Even Iago's as- 
sertions are by no means trusted at once ; Othello de- 
mands proofs, striking, irresistible proofs. It is only when 
he thinks that he has the evidence clearly in his hands 
that there first springs forth that jealousy which had 
hitherto existed but as a germ ; being, however, matured 
by his hot blood, by his excitable feelings, and the glow- 
ing power of his imagination, it spreads like wild-fire. . . . 
But the man who has reasons for being jealous is himself 
not actually jealous. The nature of the passion consists 
rather in the fact that it invariably seeks for something 
where nothing is to be found. The passion of pain and 
anger about actual infidelity is as justifiable as that excited 
by any other moral offence committed by the one we love. 
Nevertheless Othello's pain and rage have externally the 
appearance of jealousy, partly on account of the vehe- 
mence with which he expresses himself, partly because the 
proofs are as yet proofs only for him i in reality no proofs, 



OTHELLO, THE MOOR OF VENICE 



19 



> 



DRAMATIS PERSONS 



Duke of Venice. 
Brabantio, a senator. 
Other Senators. 

Gratiano, brother to Brabantio. 
Lodovico, kinsman to Brabantio. 
Othello, the Moor 
Cassio, his lieutenant. 
Iago, his ancient. 
Roderigo, a Venetian gentleman. 
Montano, Othello's predecessor in the gov- 
ernment of Cyprus. 
Clown, servant to Othello. 

Desdemona, daughter to Brabantio and 

wife to Othello. 1 
Emilia, wife to Iago. 
Bianca, mistress to Cassio. 

Sailor, Messenger, Herald, Officers, Gentle- 
men, Musicians, and Attendants. 

Scene: Venice; a seaport in Cyprus. 




St. Mark's Place, Venice 



ACT I 

Scene I. Venice. A Street 

Enter Roderigo and Iago 

Roderigo. Tush ! never tell me ; I take it much un- 
kindly 
That thou, Iago, who hast had my purse 
As if the strings were thine, shouldst know of this. 

Iago. 'Sblood, but you will not hear me ; 
If ever I did dream of such a matter, 
Abhor me. 

21 



22 Othello [Act i 

Roderigo. Thou told'st me thou didst hold him in thy 
hate. 

/ago. Despise me if I do not. Three great ones of 
the city, 
In personal suit to make me his lieutenant, 
Off-capp'd to him, — and, by the faith of man, 10 

I know my price, I am worth no worse a place, — 
But he, as loving his own pride and purposes, 
Evades them, with a bombast circumstance 
Horribly stuff d with epithets of war, 
And, in conclusion, 

Nonsuits my mediators ; for, * Certes/ says he, 
* I have already chose my officer/ 
And what was he? 
Forsooth, a great arithmetician, 

One Michael Cassio, a Florentine, 20 

A fellow almost damn'd in a fair wife ; 
That never set a squadron in the field, 
Nor the division of a battle knows 
More than a spinster,- unless the bookish theoric, 
Wherein the toged consuls can propose 
As masterly as he ; mere prattle, without practice, 
Is all his soldiership. But he, sir, had the election ; 
And I, of whom his eyes had seen the proof 
At Rhodes, at Cyprus, and on other grounds 
Christian and heathen, must be be-lee'd and calm'd 30 
By debitor and creditor, this counter-caster. 
He, in good time, must his lieutenant be, 
And I — God bless the mark ! — his Moorship's ancient. 



Scene I] Othello 23 

Roderigo. By heaven, I rather would have been his 
hangman. 

Iago. Why, there 's no remedy ; 't is the curse of service, 
Preferment goes by letter and affection, 
And not by old gradation, where each second 
Stood heir to the first. Now, sir, be judge yourself 
Whether I in any just term am affin'd 
To love the Moor. 

Roderigo. I would not follow him then. 40 

Iago. O, sir, content you ; 
I follow him to serve my turn upon him. 
We cannot all be masters, nor all masters 
Cannot be truly follow'd. You shall mark 
Many a duteous and knee-crooking knave 
That, doting on his own obsequious bondage, 
Wears out his time, much like his master's ass, 
For nought but provender, and when he 's old, cashier'd. 
Whip me such honest knaves ! Others there are 
Who, trimm'd in forms and visages of duty, 50 

Keep yet their hearts attending on themselves, 
And, throwing but shows of service on their lords, 
Do well thrive by them, and when they have lin'd their 

coats 
Do themselves homage ; these fellows have some soul, 
And such a one do I profess myself. For, sir, 
It is as sure as you are Roderigo, 
Were I the Moor, I would not be Iago. 
In following him, I follow but myself; 
Heaven is my judge, not I for love and duty, 



24 Othello [Act I 

But seeming so, for my peculiar end. 60 

For when my outward action doth demonstrate 

The native act and figure of my heart 

In compliment extern, 't is not long after 

But I will wear my heart upon my sleeve 

For daws to peck at ; I am not what I am. 

Roderigo. What a full fortune does the thick-lips owe, 
If he can carry *t thus ! 

/ago. Call up her father, 

Rouse him ; make after him, poison his delight, 
Proclaim him in the streets ; incense her kinsmen, 
And, though he in a fertile climate dwell, 70 

Plague him with flies. Though that his joy be joy, 
Yet throw such changes of vexation on 't 
As it may lose some colour. 

Roderigo. Here is her father's house ; I '11 call aloud. 

/ago. Do, with like timorous accent and dire yell 
As when, by night and negligence, the fire 
Is spied in populous cities. 

Roderigo. What, ho, Brabantio ! Signior Brabantio, ho ! 

/ago. Awake ! what, ho, Brabantio ! thieves ! thieves ! 
thieves ! 
Look to your house, your daughter, and your bags ! 80 
Thieves ! thieves ! 

Brabantio appears above, at a window 

Brabantio. What is the reason of this terrible sum- 
mons ? 
What is the matter there? 



Scene I] Othello 25 

Roderigo. Signior, is all your family within ? 

Iago. Are your doors lock'd? 

Brabantio. Why, wherefore ask you this? 

Iago. Zounds, sir, you 're robb'd; for shame, put on 
your gown; 
Your heart is burst, you have lost half your soul. 
Awake the snorting citizens with a bell, 
Or else the devil will make a grandsire of you. 
Arise, I say. 

Brabantio. What, have you lost your wits? 90 

Roderigo. Most reverend signior, do you know my 
voice ? 

Brabantio. Not I ; what are you? 

Roderigo. My name is Roderigo. 

Brabantio. The worser welcome \ 

I have charg'd thee not to haunt about my doors. 
In honest plainness thou hast heard me say 
My daughter is not for thee ; and now, in madness, 
Being full of supper and distempering draughts, 
Upon malicious bravery dost thou come 
To start my quiet. 

Roderigo. Sir, sir, sir, — 

Brabantio. But thou must needs be sure 100 

My spirit and my place have in them power 
To make this bitter to thee. 

Roderigo. Patience, good sir. 

Brabantio. What telPst thou me of robbing? this is 
Venice ; 
My house is not a grange. 



26 Othello [Act I 

Roderigo. Most grave Brabantio, 

In simple and pure soul I come to you. 

/ago. Zounds, sir, you are one of those that will not 
serve God, if the devil bid you. 

Brabantio. Thou art a villain. 

Iago. You are — a senator. 

Brabantio. This thou shalt answer; I know thee, 
Roderigo. 

Roderigo. Sir, I will answer any thing. But, I beseech 
you, no 

If 't be your pleasure and most wise consent, 
As partly I find it is, that your fair daughter, 
At this odd-even and dull watch o' the night, 
Transported, with no worse nor better guard 
But with a knave of common hire, a gondolier, 
To the gross clasps of a lascivious Moor, — 
If this be known to you and your allowance, 
We then have done you bold and saucy wrongs ; 
But if you know not this, my manners tell me 
We have your wrong rebuke. Do not believe 120 

That, from the sense of all civility, 
I thus would play and trifle with your reverence. 
Your daughter, if you have not given her leave, 
I say again, hath made a gross revolt ; 
Tying her duty, beauty, wit, and fortunes 
In an extravagant and wheeling stranger 
Of here and every where. Straight satisfy yourself; 
If she be in her chamber or your house, 
Let loose on me the justice of the state 



Scene I] Othello 2J 

For thus deluding you. 

Brabantio. Strike on the tinder, ho ! 130 

Give me a taper ! call up all my people ! — 
This accident is not unlike my dream ; 
Belief of it oppresses me already. — 
Light, I say ! light ! [Exit above. 

/ago. Farewell ; for I must leave you. 

It seems not meet, nor wholesome to my place, 
To be produc'd — as, if I stay, I shall — 
Against the Moor ; for, I do know, the state, 
However this may gall him with some check, 
Cannot with safety cast him, for he 's embark'd 
With such loud reason to the Cyprus wars, 140 

Which even now stand in act, that, for their souls, 
Another of his fathom they have none 
To lead their business ; in which regard, 
Though I do hate him as I do hell-pains, 
Yet, for necessity of present life, 
I must show out a flag and sign of love, 
Which is indeed but sign. That you shall surely find 

him, 
Lead to the Sagittary the raised search ; 
And there will I be with him. So, farewell. [Exit. 

Enter y below, Brabantio, and Servants with torches 

Brabantio. It is too true an evil ; gone she is, 150 

And what 's to come of my despised time 
Is nought but bitterness. — Now, Roderigo, 



28 Othello [Act I 

Where didst thou see her? — O unhappy girl ! 
With the Moor, say'st thou? — Who would be a fa- 
ther ! — 
How didst thou know 't was she? — O, she deceives me 
Past thought! — What said she to you? — Get more 

tapers ! 
Raise all my kindred ! — Are they married, think 
you? 
Roderigo. Truly, I think they are. 
Brabantio. O heaven ! — How got she out? — O trea- 
son of the blood ! — 
Fathers, from hence trust not your daughters' minds 160 
By what you see them act. — Is there not charms 
By which the property of youth and maidhood 
May be abus'd ? Have you not read, Roderigo, 
Of some such thing? 

Roderigo. Yes, sir, I have indeed. 

Brabantio. Call up my brother. — O, would you had 
had her ! — 
Some one way, some another. — Do you know 
Where we may apprehend her and the Moor? 

Roderigo. I think I can discover him, if you please 
To get good guard and go along with me. 

Brabantio. Pray you, lead on. At every house I '11 
call ; 170 

I may command at most. — Get weapons, ho ! 
And raise some special officers of night. — 
On, good Roderigo ; I '11 deserve your pains. [Exeunt. 



Scene II] Othello 29 

Scene II. Another Street 
Enter Othello, Iago, and Attendants with torches 

/ago. Though in the trade of war I have slain men, 
Yet do I hold it very stuff o' the conscience 
To do no contriv'd murther ; I lack iniquity 
Sometimes to do me service. Nine or ten times 
I had thought to have yerk'd him here under the ribs. 

Othello. T is better as it is. 

Iago. Nay, but he prated, 

And spoke such scurvy and provoking terms 
Against your honour 
That, with the little godliness I have, 
I did full hard forbear him. But, I pray you, sir, 10 

Are you fast married? Be assur'd of this, 
That the magnifico is much belov'd, 
And hath in his effect a voice potential 
As double as the duke's ; he will divorce you, 
Or put upon you what restraint and grievance 
The law, with all his might to enforce it on, 
Will give him cable. 

Othello. Let him do his spite ; 

My services which I have done the signiory 
Shall out-tongue his complaints. T is yet to know, — 
Which, when I know that boasting is an honour, 20 

I shall promulgate — I fetch my life and being 
From men of royal siege, and my demerits 
May speak unbonneted to as proud a fortune 



30 Othello [Act i 

As this that I have reacted ; for know, Iago, 

But that I love the gentle Desdemona, 

I would not my unhoused free condition 

Put into circumscription and confine 

For the sea's worth. But, look ! what lights come yond ? 

Iago. Those are the raised father and his friends ; 
You were best go in. 

Othello. Not I ; I must be found. 30 

My parts, my title, and my perfect soul 
Shall manifest me rightly. Is it they? 

Iago. By Janus, I think no. 

Enter Cassio, and certain Officers with torches 

Othello. The servants of the duke, and my lieuten- 
ant. — 
The goodness of the night upon you, friends ! 
What is the news? 

Cassio. The duke does greet you, general, 

And he requires your haste-post-haste appearance, 
Even on the instant. 

Othello. What is the matter, think you ? 

Cassio. Something from Cyprus, as I may divine. 
It is a business of some heat ; the galleys 40 

Have sent a dozen sequent messengers 
This very night at one another's heels, 
And many of the consuls, rais'd and met, 
Are at the duke's already. You have been hotly call'd 

for: 
When, being not at your lodging to be found, 



Scene II] Othello 31 

The senate hath sent about three several quests 
To search you out. 

Othello. 'T is well I am found by you. 

I will but spend a word here in the house, 
And go with you. [Exit. 

Cassio. Ancient, what makes he here? 

Iago. Faith, he to-night hath boarded a land carack ; 
If it prove lawful prize, he 's made for ever. 51 

Cassio. I do not understand. 

Iago. He *s married. 

Cassio. To who ? 

Re-enter Othello 

Iago. Marry, to — Come, captain, will you go? 
Othello. Have with you. 

Cassio. Here comes another troop to seek for you. 
Iago. It is Brabantio. — General, be advis'd ; 
He comes to bad intent. ft * r "7- ' 

Enter Brabantio, Roderigo, and Officers with torches 
and weapons 

Othello. Holla ! stand there ! 

Roderigo. Signior, it is the Moor. 
Brabantio. Down with him, thief ! 

[They draw on both sides. 
Iago. You, Roderigo ! come, sir, I am for you. 
Othello. Keep up your bright swords, for the dew will 
rust them. — 
Good signior, you shall more'command with years 60 

Than with your weapons. 



32 Othello [Act I 

Brabantio. O thou foul thief, where hast thou stow'd 
my daughter? 
Bamn'd as thou art, thou hast enchanted her ; 
For I '11 refer me to all things of sense, 
If she in chains of magic were not bound, 
Whether a maid so tender, fair, and happy, 
So opposite to marriage that she shunn'd 
The wealthy curled darlings of our nation, 
Would ever have, to incur a general mock, 
Run from her guardage to the sooty bosom 70 

Of such a thing as thou, — to fear, not to delight. 
Judge me the world, if \ is not gross in sense 
That thou hast practis'd on her with foul charms, 
Abus'd her delicate youth with drugs or minerals 
That weaken motion. I '11 have 't disputed on ; 
'T is probable and palpable to thinking. 
I therefore apprehend and do attach thee 
For an abuser of the world, a practiser 
Of arts inhibited and out of warrant. — 
Lay hold upon him ; if he do resist, 80 

Subdue him at his peril. 

Othello. Hold your hands, 

Both you of my inclining, and the rest ; 
Were it my cue to fight, I should have known it 
Without a prompter. — Where will you that I go 
To answer this your charge ? 

Brabantio. To prison, till fit time 

Of law and course of direct session 
Call thee to answer. 



Scene III] Othello 23 

Othello. What if I do obey ? 

How may the duke be therewith satisfied, v . ^**<ft 
Whose messengers are hereabout my side, 
Upon some present business of thg state, '^ 90 

To bring me to him? •* r ' v 

1 Officer. 'T is true, most worthy signior ; 

The duke 's in council, and your noble self, 
I am sure, is sent for. 

Brabantio. How ! the duke in council ! 

In this time of the night ! — Bring him away. 
Mine *s not an idle cause : the duke himself, 
Or any of my brothers of the state, 
Cannot but feel this wrong as 't were their own \ 
For if such actions may have passage free, 
Bond-slaves and pagans shall our statesmen be. \_Exeunt 



Scene III. A Council-chamber 

The Duke and Senators sitting at a table; Officers 
attending 

Duke. There is no composition in these news 
That gives them credit. 

1 Senator. Indeed, they are disproportion^ ; 
My letters say a hundred and seven galleys. 

Duke. And mine, a hundred and forty. 

2 Senator. And mine, two hundred ; 
But though they jump not on a just account, — 

As in these cases, where the aim reports, 

OTHELLO — 3 



34 Othello [Act I 

T is oft with difference — yet do they all confirm 
A Turkish fleet, and bearing up to Cyprus. 

Duke. Nay, it is possible enough to judgment ; 
I do not so secure me in the error 10 

But the main article I do approve 
In fearful sense. 

Sailor. [ Within] What, ho ! what, ho ! what, ho ! 

i Officer. A messenger from the galleys. 

Enter a Sailor 

Duke. Now, what 's the business? 

Sailor. The Turkish preparation makes for Rhodes ; 
So was I bid report here to the state 
By Signior Angelo. 

Duke. How say you by this change? 

i Senator. This cannot be, 

By no assay of reason ; 't is a pageant, 
To keep us in false gaze. When we consider 
The importancy of Cyprus to the Turk, 20 

And let ourselves again but understand 
That, as it more concerns the Turk than Rhodes, 
So may he with more facile question bear it, 
For that it stands not in such warlike brace, 
But altogether lacks the abilities 
That Rhodes is dress'd in, — if we make thought of 

this, 
We must not think the Turk is so unskilful 
To leave that latest which concerns him first, 
Neglecting an attempt of ease and gain 



Scene in] Othello 35 

To wake and wage a danger profitless. 30 

Duke. Nay, in all confidence, he 's not for Rhodes. 
1 Officer. Here is more news. 

Enter a Messenger 

Messenger. The Ottomites, reverend and gracious, 
Steering with due course towards the isle of Rhodes, 
Have there injointed them with an after fleet. 

1 Senator. Ay, so I thought. — How many, as you guess ? 

Messenger. Of thirty sail ; and now they do re-stem 
Their backward course, bearing with frank appearance 
Their purposes toward Cyprus. — Signior Montano, 
Your trusty and most valiant servitor, 40 

With his free duty recommends you thus, 
And prays you to believe him. 

Duke. 'T is certain, then, for Cyprus. 
Marcus Luccicos, is not he in town ? 

1 Senator. He 's now in Florence. 

Duke. Write from us to him ; post-post-haste dispatch. 

1 Senator. Here comes Brabantio and the valiant Moor. 

Enter Brabantio, Othello, Iago, Roderigo, and Officers 

Duke. Valiant Othello, we must straight employ you 
Against the general enemy Ottoman. — 
\To Brabantio~\ I did not see you; welcome, gentle 
signior ; 50 

We lack'd your counsel and your help to-night. 

Brabantio. So did I yours. Good your grace, pardon 



36 Othello [Act I 

Neither my place nor aught I heard of business 

Hath rais'd me from my bed, nor doth the general care 

Take hold on me, for my particular grief 

Is of so flood-gate and o'erbearing nature 

That it engluts and swallows other sorrows 

And it is still itself. 

Duke. Why, what 's the matter? 

Brabantio. My daughter ! O, my daughter ! 

Duke and Senators. Dead ? 

Brabantio. Ay, to me. 

She is abus'd, stolen from me, and corrupted 60 

By spells and medicines bought of mountebanks ; 
For nature so preposterously to err, 
Being not deficient, blind, or lame of sense, 
Sans witchcraft could not. 

Duke. Whoe'er he be that in this foul proceeding 
Hath thus beguil'd your daughter of herself 
And you of her, the bloody book of law 
You shall yourself read in the bitter letter 
After your own sense ; yea, though our proper son 
Stood in your action. 

Brabantio. Humbly I thank your grace. 70 

Here is the man, this Moor, whom now, it seems, 
Your special mandate for the state affairs 
Hath hither brought. 

Duke and Senators. We are very sorry for 't. 

Duke. [To Othello] What, in your own part, can you 
say to this ? 

Brabantio. Nothing, but this is so. 



Scene Hi] Othello 37 

Othello. Most potent, grave, and reverend signiors, 
My very noble and approv'd good masters, 
That I have ta'en away this old man's daughter 
It is most true ; true, I have married her ; 
The very head and front of my offending 80 

Hath this extent, no more. Rude am I in my speech, 
And little blest with the soft phrase of peace ; 
For since these arms of mine had seven years' pith, 
Till now some nine moons wasted, they have us'd 
Their dearest action in the tented field, 
And little of this great world can I speak, 
More than pertains to feats of broil and battle, 
And therefore little shall I grace my cause 
In speaking for myself. Yet, by your gracious patience, 
I will a round unvarnish'd tale deliver 90 

Of my whole course of love ; what drugs, what charms, 
What conjuration, and what mighty magic, — 
For such proceeding I am charg'd withal, — 
I won his daughter. 

Brabantio. A maiden never bold ; 

Of spirit so still and quiet that her motion 
Blush'd at herself; and she, in spite of nature, 
Of years, of country, credit, every thing, 
To fall in love with what she fear'd to look on ! 
It is a judgment maim'd and most imperfect 
That will confess perfection so could err 100 

Against all rules of nature, and must be driven 
To find out practices of cunning hell, 
Why this should be. I therefore vouch again 



38 Othello [Act I 

That with some mixtures powerful o'er the blood, 
Or with some dram conjur'd to this effect, 
He wrought upon her. 

Duke. To vouch this is no proof, 

Without more wider and more overt test 
Than these thin habits and poor likelihoods 
Of modern seeming do prefer against him. 

i Senator. But, Othello, speak : no 

Did you by indirect and forced courses 
Subdue and poison this young maid's affections? 
Or came it by request and such fair question 
As soul to soul affordeth? 

Othello. I do beseech you, 

Send for the lady to the Sagittary, 
And let her speak of me before her father. 
If you do find me foul in her report, 
The trust, the office I do hold of you, 
Not only take away, but let your sentence 
Even fall upon my life. 

Duke. Fetch Desdemona hither. 120 

Othello. Ancient, conduct them ; you best know the 
place. — [Exeunt lago and attendants. 

And, till she come, as truly as to heaven 
I do confess the vices of my blood, 
So justly to your grave ears I '11 present 
How I did thrive in this fair lady's love, 
And she in mine. 

Duke. Say it, Othello. 

Othello. Her father lov'd me, oft invited me, 



Scene Hi] Othello 39 

Still question'd me the story of my life 

From year to year, — the battles, sieges, fortunes, 130 

That I have pass'd. 

I ran it through, even from my boyish days 

To the very moment that he bade me tell it ; 

Wherein I spake of most disastrous chances, 

Of moving accidents by flood and field, 

Of hair-breadth scapes i' the imminent deadly breach, 

Of being taken by the insolent foe 

And sold to slavery, of my redemption thence, 

And portance in my travel's history ; 

Wherein of antres vast and deserts idle, 140 

Rough quarries, rocks, and hills whose heads touch 

heaven, 
It was my hint to speak, — such was the process ; 
And of the Cannibals that each other eat, 
The Anthropophagi, and men whose heads 
Do grow beneath their shoulders. This to hear 
Would Desdemona seriously incline, 
But still the house affairs would draw her thence, 
Which ever as she could with haste dispatch, 
She 'd come again and with a greedy ear 
Devour up my discourse ; which I observing 150 

Took once a pliant hour, and found good means 
To draw from her a prayer of earnest heart 
That I would all my pilgrimage dilate, 
Whereof by parcels she had something heard, 
But not intentively. I did consent, 
And often did beguile her of her tears 



40 Othello [Act I 

When I did speak of some distressful stroke 
That my youth suffer'd. My story being done, 
She gave me for my pains a world of sighs. 
She swore, in faith, 't was strange, 't was passing 
strange, 160 

'T was pitiful, 't was wondrous pitiful ; 
She wish'd she had not heard it, yet she wish'd 
That heaven had made her such a man ; she thank'd me, 
And bade me, if I had a friend that lov'd her, 
I should but teach him how to tell my story, 
And that would woo her. Upon this hint I spake. 
She lov'd me for the dangers I had pass'd, 
And I lov'd her that she did pity them. 
This only is the witchcraft I have us'd. — 
Here comes the lady; let her witness it. 170 

Enter Desdemona, Iago, and Attendants 

Duke. I think this tale would win my daughter too. — 
Good Brabantio, 

Take up this mangled matter at the best ; 
Men do their broken weapons rather use 
Than their bare hands. 

Brabantio. I pray you, hear her speak; 

If she confess that she was half the wooer, 
Destruction on my head if my bad blame 
Light on the man ! — Come hither, gentle mistress ; 
Do you perceive in all this noble company 
Where most you owe obedience ? 



Scene III] Othello 4 1 

Desdemona. My noble father, 180 

I do perceive here a divided duty : 
To you I am bound for life and education ; 
My life and education both do learn me 
How to respect you ; you are the lord of duty ; 
I am hitherto your daughter ; but here 's my husband, 
And so much duty as my mother show'd 
To you, preferring you before her father, 
So much I challenge that I may profess 
Due to the Moor my lord. 

Brabantio. God be with you ! — I have done. — 

Please it your grace, on to the state affairs ; 190 

I had rather to adopt a child than get it. — 
Come hither, Moor; 

I here do give thee that with all my heart 
Which, but thou hast already, with all my heart 
I would keep from thee. — For your sake, jewel, 
I am glad at soul I have no other child ; 
For thy escape would teach me tyranny, 
To hang clogs on them. — I have done, my lord. 

Duke. Let me speak like yourself, and lay a sentence, 
Which, as a grise or step, may help these lovers 200 

Into your favour. 

When remedies are past, the griefs are ended 
By seeing the worst, which late on hopes depended. 
To mourn a mischief that is past and gone 
Is the next way to draw new mischief on. 
What cannot be preserv'd when fortune takes, 
Patience her injury a mockery makes. 



42 Othello [Act I 

The robb'd that smiles steals something from the thief; 
He robs himself that spends a bootless grief. 

Brabantio. So let the Turk of Cyprus us beguile ; 210 
We lose it not, so long as we can smile. 
He bears the sentence well that nothing bears 
But the free comfort which from thence he hears, 
But he hears both the sentence and the sorrow 
That, to pay grief, must of poor patience borrow. 
These sentences, to sugar or to gall, 
Being strong on both sides, are equivocal. 
But words are words ; I never yet did hear 
That the bruis'd heart was pierced through the ear. — 
Beseech you, now to the affairs of state. 220 

Duke. The Turk with a most mighty preparation 
makes for Cyprus. — Othello, the fortitude of the place 
is best known to you ; and though we have there a 
substitute of most allowed sufficiency, yet opinion, a 
sovereign mistress of effects, throws a more safer voice 
on you. You must therefore be content to slubber the 
gloss of your new fortunes with this more stubborn and 
boisterous expedition. 

Othello. The tyrant custom, most grave senators, 
Hath made the flinty and steel couch of war 230 

My thrice-driven bed of down ; I do agnize 
A natural and prompt alacrity 
I find in hardness, and do undertake 
These present wars against the Ottomites. 
Most humbly therefore bending to your state, 
I crave fit disposition for my wife, 



Scene III] Othello 43 

Due reference of place and exhibition, 
With such accommodation and besort 
As levels with her breeding. 

Duke. If you please, 

Be 't at her father's. 

Brabantio. I '11 not have it so. 240 

Othello. Nor I. 

Desdemona. Nor I ; I would not there reside, 

To put my father in impatient thoughts 
By being in his eye. Most gracious duke, 
To my unfolding lend your prosperous ear ; 
And let me find a charter in your voice, 
To assist my simpleness. 

Duke. What would you, Desdemona? 

Desdemona. That I did love the Moor to live with 
him 
My downright violence and storm of fortunes 
May trumpet to the world. My heart 's subdued 250 
Even to the very quality of my lord ; 
I saw Othello's visage in his mind, 
And to his honours and his valiant parts 
Did I my soul and fortunes consecrate. 
So that, dear lords, if I be left behind, 
A moth of peace, and he go to the war, 
The rites for which I love him are bereft me, 
And I a heavy interim shall support 
By his dear absence. Let me go with him. 

Othello. Let her have your voices. 260 

Vouch with me, heaven, I therefore beg it not, 



44 Othello [Act I 

To please the palate of my appetite, 

Nor to comply with heat — the young affects 

In me defunct — and proper satisfaction, 

But to be free and bounteous to her mind ; 

And heaven defend your good souls, that you think 

I will your serious and great business scant 

For she is with me. No, when light-wing'd toys 

Of feather'd Cupid seel with wanton dulness 

My speculative and offic'd instruments, 270 

That my disports corrupt and taint my business, 

Let housewives make a skillet of my helm, 

And all indign and base adversities 

Make head against my estimation ! 

Duke. Be it as you shall privately determine, 
Either for her stay or going. The affair cries haste, 
And speed must answer it. 

1 Senator. You must away to-night. 

Othello. With all my heart. 

Duke. At nine i' the morning here we '11 meet 
again. — 
Othello, leave some officer behind, 280 

And he shall our commission bring to you, 
With such things else of quality and respect 
As doth import you. 

Othello. So please your grace, my ancient ; 

A man he is of honesty and trust. 
To his conveyance I assign my wife, 
With what else needful your good grace shall think 
To be sent after me. 



Scene III] Othello 45 

Duke. Let it be so. — 

Good night to every one. — And, noble signior, 
If virtue no delighted beauty lack, 
Your son-in-law is far more fair than black. 290 

1 Senator. Adieu, brave Moor ! use Desdemona 
well. 

Brabantio. Look to her, Moor, if thou hast eyes 
to see ; 
She has deceiv'd her father, and may thee. 

[Exeunt Duke, Senators, Officers, etc. 

Othello. My life upon her faith ! — Honest Iago, 
My Desdemona must I leave to thee ; 
I prithee, let thy wife attend on her, 
And bring them after in the best advantage. — 
Come, Desdemona ; I have but an hour 
Of love, of worldly matters and direction, 
To spend with thee. We must obey the time. 300 

[Exeunt Othello and Desdemona. 

Roderigo. Iago — 

Iago. What say'st thou, noble heart ? 

Roderigo. What will I do, thinkest thou? 

Iago. Why, go to bed, and sleep. 

Roderigo. I will incontinently drown myself. 

Iago. If thou dost, I shall never love thee after. Why, 
thou silly gentleman ! 

Roderigo. It is silliness to live when to live is tor- 
ment ; and then have we a prescription to die when 
death is our physician. 310 

Iago. O villanous ! I have looked upon the world 



4.6 Othello [Act i i 

for four times seven years ; and since I could distin- 
guish betwixt a benefit and an injury, I never found 
man that knew how to love himself. Ere I would say 
I would drown myself for the love of a guinea-hen, I 
would change my humanity with a baboon. 

Roderigo. What should I do ? I confess it is my 
shame to be so fond, but it is not in my virtue to amend 
it. 

/ago. Virtue ! a fig ! 't is in ourselves that we are 320 
thus or thus. Our bodies are our gardens, to the which 
our wills are gardeners ; so that if we will plant nettles 
or sow lettuce, set hyssop and weed up thyme, supply 
it with one gender of herbs or distract it with many, 
either to have it sterile with idleness or manured with 
industry, why, the power and corrigible authority of 
this lies in our wills. If the balance of our lives had 
not one scale of reason to poise another of sensuality, 
the blood and baseness of our natures would conduct 
us to most preposterous conclusions; but we have 330 
reason to cool our raging motions, our carnal stings, 
our unbitted lusts, whereof I take this that you call 
love to be a sect or scion. 

Roderigo. It cannot be. 

/ago. It is merely a lust of the blood and a permis- 
sion of the will. Come, be a man. Drown thyself ! 
drown cats and blind puppies. I have professed me 
thy friend, and I confess me knit to thy deserving with 
cables of perdurable toughness ; I could never better 
stead thee than now. Put money in thy purse ; follow 340 



Scene III] Othello 47 

these wars ; defeat thy favour with an usurped beard ; I 
say, put money in thy purse. It cannot be that Des- 
demona should long continue her love to the Moor, — 
put money in thy purse, — nor he his to her. It was 
a violent commencement, and thou shalt see an answer- 
able sequestration; — put but money in thy purse. 
These Moors are changeable in their wills ; — fill thy 
purse with money; — the food that to him now is as 
luscious as locusts shall be to him shortly as bitter as 
coloquintida. She must change for youth. When 350 
she is sated with his body, she will find the error of 
her choice ; she must have change, she must ; — there- 
fore put money in thy purse. If thou wilt needs damn 
thyself, do it a more delicate way than drowning. 
Make all the money thou canst. If sanctimony and a 
frail vow betwixt an erring barbarian and a supersubtle 
Venetian be not too hard for my wits and all the tribe 
of hell, thou shalt enjoy her; — therefore make money. 
A pox of drowning thyself ! it is clean out of the way ; 
seek thou rather to be hanged in compassing thy joy 360 
than to be drowned and go without her. 

Roderigo. Wilt thou be fast to my hopes, if I de- 
pend on the issue ? 

/ago. Thou art sure of me. — Go, make money. — I 
have told thee often, and I re-tell thee again and again, 
I hate the Moor. My cause is hearted ; thine hath no 
less reason. Let us be conjunctive in our revenge 
against him ; if thou canst cuckold him, thou dost 
thyself a pleasure, me a sport. There are many 



48 Othello [Act I 

events in the womb of time which will be delivered. 370 
Traverse ! go, provide thy money. We will have 
more of this to-morrow. Adieu. 

Roderigo. Where shall we meet i'the morning? 

lago. At my lodging. 

Roderigo. I '11 be with thee betimes. 

lago. Go to; farewell. Do you hear, Roderigo? 

Roderigo. What say you ? 

lago. No more of drowning, do you hear ? 

Roderigo. I am changed ; I'll sell all my land. 

\_Exit. 

lago. Thus do I ever make my fool my purse ; 380 
For I mine own gain'd knowledge should profane, 
If I would time expend with such a snipe 
But for my sport and profit. I hate the Moor ; 
And it is thought abroad that 'twixt my sheets 
He has done my office. I know not if 't be true, 
But I, for mere suspicion in that kind, 
Will do as if for surety. He holds me well ; 
The better shall my purpose work on him. 
Cassio 's a proper man. Let me see now ; 
To get his place and to plume up my will 390 

In double knavery — How, how? — Let 's see; 
After some time, to abuse Othello's ear 
That he is too familiar with his wife. 
He hath a person and a smooth dispose 
To be suspected, fram'd to make women false. 
The Moor is of a free and open nature, 
That thinks men honest that but seem to be so, 



Scene III] Othello 49 

And will as tenderly be led by the nose 

As asses are. 

I have 't. It is engender'd. Hell and night 400 

Must bring this monstrous birth to the worlds light. 

[Exit 



OTHELLO — 4 




Citadel at Famagusta, Cyprus 



ACT II 

Scene I. A Seaport in Cyprus. A Platform 

Enter Montano and two Gentlemen 

Montano. What from the cape can you discern at 

sea? 
i Gentleman. Nothing at all. It is a high-wrought 
flood; 
I cannot, 'twixt the heaven and the main, 
Descry a sail. 

Montano. Methinks the wind hath spoke aloud at 
land ; 
A fuller blast ne'er shook our battlements. 
If it hath ruffian'd so upon the sea, 

5o 



Scene I] Othello 5 1 

What ribs of oak, when mountains melt on them, 
Can hold the mortise? What shall we hear of this? 

2 Gentleman. A segregation of the Turkish fleet. 10 
For do but stand upon the foaming shore, 

The chidden billow seems to pelt the clouds ; 

The wind-shak'd surge, with high and monstrous mane, 

Seems to cast water on the burning Bear 

And quench the guards of the ever-fixed pole. 

I never did like molestation view 

On the enchafed flood. 

Montano. If that the Turkish fleet 

Be not enshelter'd and embay'd, they are drown'd ; 
It is impossible they bear it out. 

Enter a third Gentleman 

3 Gentleman. News, lads ! our wars are done. 20 
The desperate tempest hath so bang'd the Turks 

That their designment halts ; a noble ship of Venice 
Hath seen a grievous wrack and sufferance 
On most part of their fleet. 

Montano. How ! is this true? 

3 Gentleman. The ship is here put in. 

A Veronese, Michael Cassio, 
Lieutenant to the warlike Moor Othello, 
Is come on shore ; the Moor himself at sea, 
And is in full commission here for Cyprus. 

Montano. I am glad on 't ; 't is a worthy governor. 30 

3 Gentleman. But this same Cassio, though he speak 
of comfort 



52 Othello [Act II 

Touching the Turkish loss, yet he looks sadly, 
And prays the Moor be safe ; for they were parted 
With foul and violent tempest. 

Montano. Pray heavens he be ! 

For I have serv'd him, and the man commands 
Like a full soldier. Let *s to the seaside, ho ! 
As well to see the vessel that 's come in 
As to throw out our eyes for brave Othello, 
Even till we make the main and the aerial blue 
An indistinct regard. 

3 Gentleman. Come, let 's do so, 40 

For every minute is expectancy 
Of more arrivance. 

Enter Cassio 

Cassio. Thanks, you the valiant of this warlike isle, 
That so approve the Moor ! O, let the heavens 
Give him defence against the elements, 
For I have lost him on a dangerous sea. 

Montano. Is he well shipp'd? 

Cassio. His bark is stoutly timber' d, and his pilot 
Of very expert and approv'd allowance ; 
Therefore my hopes, not surfeited to death, 50 

Stand in bold cure. \_A cry within, ' A sail, a sail, a sail ! ' 



Enter a fourth Gentleman 

Cassio. What noise ? 

4 Gentleman. The town is empty ; on the brow o' the 
sea 
Stand ranks of people, and they cry, € A sail ! ' 



i! 



Scene I] Othello 53 

Cassio. My hopes do shape him for the governor. 

[Guns heard, 

2 Gentleman. They do discharge their shot of courtesy ; 
Our friends at least. 

Cassio. I pray you, sir, go forth, 

And give us truth who 't is that is arriv'd. 

2 Gentleman. I shall. [Exit. 

Montano. But, good lieutenant, is your general wiv'd? 

Cassio. Most fortunately ; he hath achiev'd a maid 61 
That paragons description and wild fame, 
One that excels the quirks of blazoning pens, 
And in the essential vesture of creation 
Does tire the enginer. — 

Re-enter second Gentleman 

How now ! who has put in ? 

2 Gentleman. *T is one Iago, ancient to the general. 

Cassio. He 's had most favourable and happy speed. 
Tempests themselves, high seas, and howling winds, 
The gutter'd rocks, and congregated sands, 
Traitors ensteep'd to clog the guiltless keel, 70 

As having sense of beauty, do omit 
Their mortal natures, letting go safely by 
I The divine Desdemona. 

Montano. What is she? 

Cassio. She that I spake of, our great captain's captain, 
Left in the conduct of the bold Iago, 
Whose footing here anticipates our thoughts 
A se'nnight's speed. — Great Jove, Othello guard, 



54 Othello [Act II 

And swell his sail with thine own powerful breath, 
That he may bless this bay with his tall ship, 
Give renew'd fire to our extincted spirits, 80 

And bring all Cyprus comfort ! — 

Enter Desdemona, Emilia, Iago, Roderigo, and 
Attendants 

O, behold, 
The riches of the ship is come on shore ! 
Ye men of Cyprus, let her have your knees. - — 
Hail to thee, lady ! and the grace of heaven, 
Before, behind thee, and on every hand, 
Enwheel thee round ! 

Desdemona. I thank you, valiant Cassio. 

What tidings can you tell me of my lord ? 

Cassio. He is not yet arriv'd ; nor know I aught 
But that he 's well and will be shortly here. 

Desdemona. O, but I fear — How lost you company? 
Cassio. The great contention of the sea and skies 91 
Parted our fellowship — But, hark ! a sail. 

[Within, ' A sail, a sail ! ' Guns heard. 
2 Gentleman. They give their greeting jto the citadel ; 
This likewise is a friend. 

Cassio. See for the news. — [Exit Gentleman. 

Good ancient, you are welcome. — [To Emilia] Wel- 
come, mistress. — 
Let it not gall your patience, good Iago, 
That I extend my manners ; 't is my breeding 
That gives me this bold show of courtesy. [Kissing her. 



Scene I] Othello 55 

Iago. Sir, would she give you so much of her lips 
As of her tongue she oft bestows on me, 100 

You 'd have enough. 

Desdemona. Alas, she has no speech. 

Iago, In faith, too much ; 
I find it still, when I have list to sleep. 
Marry, before your ladyship, I grant, 
She puts her tongue a little in her heart 
And chides with thinking. 

Emilia, You have little cause to say so. 

Iago. Come on, come on; you are pictures out of 
doors, 
Bells in your parlours, wildcats in your kitchens, 
Saints in your injuries, devils being offended, no 

Players in your housewifery, and housewives in your 
beds. 

Desdemona. O, fie upon thee, slanderer ! 

Iago. Nay, it is true, or else I am a Turk ; 
You rise to play, and go to bed to work. 

Emilia. You shall not write my praise. 

Iago. No, let me not. 

Desdemona. What wouldst thou write of me, if thou 
shouldst praise me? 

Iago. O gentle lady, do not put me to 't, 
For I am nothing if not critical. 

Desdemona. Come on, assay. — There *s one gone to 
the harbour? 

Iago. Ay, madam. 120 

Desdemona. I am not merry ; but I do beguile 



$6 Othello [Act ii 

The thing I am by seeming otherwise. — 
Come, how wouldst thou praise me? 

/ago. I am about it, but indeed my invention 
Comes from my pate as birdlime does from frize, 
It plucks out brains and all; but my Muse labours, 
And thus she is deliver'd. 
If she be fair and wise, fairness and wit, 
The one 's for use, the other useth it. 

Desdemona. Well prais'd ! How if she be black and 
witty? 130 

lago. If she be black, and thereto have a wit, 
She '11 find a white that shall her blackness fit. 

Desdemona. Worse and worse. 

Emilia. How if fair and foolish? 

lago. She never yet was foolish that was fair ; 
For even her folly help'd her to an heir. 

Desdemona. These are old fond paradoxes to make 
fools laugh i' the alehouse. What miserable praise 
hast thou for her that 's foul and foolish? 

lago. There 's none so foul and foolish thereunto, 140 
But does foul pranks which fair and wise ones 
do. 

Desdemona. O heavy ignorance ! thou praisest the 
worst best. But what praise couldst thou bestow on a 
deserving woman indeed, one that in the authority of 
her merit did justly put on the vouch of very malice 
itself? 

lago. She that was ever fair and never proud, 
Had tongue at will and yet was never loud, 



Scene I] Othello 



57 



Never lack'd gold and yet went never gay, 
Fled from her wish and yet said ' Now I may/ 150 

She that being anger'd, her revenge being nigh, 
Bade her wrong stay and her displeasure fly, 
She that in wisdom never was so frail 
To change the cod's head for the salmon's tail, 
1 She that could think and ne'er disclose her mind, 
See suitors following and not look behind, 
She was a wight, if ever such wight were, — 

Desdemona. To do what? 

lago. To suckle fools and chronicle small beer. 

Desdemona. O most lame and impotent conclusion ! 160 
— Do not learn of him, Emilia, though he be thy hus- 
band. — How say you, Cassio ? is he not a most pro- 
fane and liberal counsellor? 

Cassio. He speaks home, madam ; you may relish 
him more in the soldier than in the scholar. 

Iago. [Aside] He takes her by the palm. Ay, well 
said, whisper ; with as little a web as this will I ensnare 
as great a fly as Cassio. Ay, smile upon her, do ; I 
will gyve thee in thine own courtship. You say true ; 
*t is so, indeed. If such tricks as these strip you out 170 
of your lieutenantry, it had been better you had not 
kissed your three fingers so oft, which now again you 
are most apt to play the sir in. Very good ; well 
kissed ! an excellent courtesy ! 't is so, indeed. Yet 
again your fingers to your lips? — \Trumpet within.'] 
The Moor ! I know his trumpet. 

Cassio. 'T is truly so. 



58 Othello [Act II 

Desdemona. Let 's meet him and receive him. 
Cassio. Lo, where he comes ! 

Enter Othello and Attendants 

Othello. O my fair warrior ! 

Desdemona. My dear Othello ! 180 

Othello. It gives me wonder great as my content 
To see you here before me. O my soul's joy ! 
If after every tempest come such calms, 
May the winds blow till they have waken'd death ! 
And let the labouring bark climb hills of seas 
Olympus-high, and duck again as low 
As hell 's from heaven ! If it were now to die, 
'T were now to be most happy ; for, I fear, 
My soul hath her content so absolute 
That not another comfort like to this 190 

Succeeds in unknown fate. 

Desdemona. The heavens forbid 

But that our loves and comforts should increase 
Even as our days do grow ! 

Othello. Amen to that, sweet powers ! j 

I cannot speak enough of this content ; 
It stops me here, it is too much of joy. 
And this, and this, the greatest discords be \_Kissing her. 
That e'er our hearts shall make ! 

/ago. \_Aside~\ O, you are well tun'd now ! 
But I '11 set down the pegs that make this music, 
As honest as I am. 

Othello. Come, let us to the castle. 200 



Scene I] Othello 59 

News, friends ; our wars are done, the Turks are drown'd. 

How does my old acquaintance of this isle? — 

Honey, you shall be well desir'd in Cyprus ; 

I have found great love amongst them. O my sweet, 

I prattle out of fashion, and I dote 

In mine own comforts. — I prithee, good Iago, 

Go to the bay and disembark my coffers. 

Bring thou the master to the citadel; 

He is a good one, and his worthiness 

Does challenge much respect. — Come, Desdemona, 210 

Once more, well met at Cyprus. 

\Exennt Othello, Desdemona, and Attendants. 

Iago. Do thou meet me presently at the harbour. 
— Come hither. — If thou be'st valiant, — as, they 
say, base men being in love have then a nobility in 
their natures more than is native to them, — list me. 
The lieutenant to-night watches on the court of guard. 
First, I must tell thee this — Desdemona is directly in 
love with him. 

Roderigo. With him ! why, 't is not possible. 

Iago. Lay thy finger thus, and let thy soul be in- 220 
structed. Mark me with what violence she first loved 
the Moor but for bragging and telling her fantastical 
lies ; and will she love him still for prating ? let not 
thy discreet heart think it. Her eye must be fed ; 
and what delight shall she have to look on the devil? 
When the blood is made dull, there should be, again 
to inflame it and to give satiety a fresh appetite, 
loveliness in favour, sympathy in years, manners, and 



60 Othello [Act n 

beauties, all which the Moor is defective in. Now, 
for want of these required conveniencies, her delicate 230 
tenderness will find itself abused, begin to heave the 
gorge, disrelish and abhor the Moor ; very nature will 
instruct her in it, and compel her to some second 
choice. Now, sir, this granted, — as it is a most 
pregnant and unforced position, — who stands so emi- 
nent in the degree of this fortune as Cassio does ? a 
knave very voluble ; no further conscionable than in 
putting on the mere form of civil and humane seem- 
ing, for the better compassing of his salt and most 
hidden loose affection? why, none; why, none; a 240 
slipper and subtle knave, a finder of occasions, that 
has an eye can stamp and counterfeit advantages, 
though true advantage never present itself; a devilish 
knave ! Besides, the knave is handsome, young, and 
hath all those requisites in him that folly and green 
minds look after ; a pestilent complete knave, and the 
woman hath found him already. 

Roderigo. I cannot believe that in her ; she 's full 
of most blessed condition. 

Iago. Blessed fig's end ! the wine she drinks is 250 
made of grapes ; if she had been blessed, she would 
never have loved the Moor. Blessed pudding ! Didst 
thou not see her paddle with the palm of his hand? 
didst not mark that ? 

Roderigo. Yes, that I did ; but that was but courtesy. 

Iago. Lechery, by this hand ; an index and obscure 
prologue to the history of lust and foul thoughts. 



Scene I] Othello 6 1 

They met so near with their lips that their breaths 
embraced together. Villanous thoughts, Roderigo ! 
But, sir, be you ruled by me; I have brought you 260 
from Venice. Watch you to-night ; for the command 
I '11 lay 't upon you. Cassio knows you not. I '11 not 
be far from you; do you find some occasion to anger 
Cassio, either by speaking too loud, or tainting his 
discipline, or from what other course you please which 
the time shall more favourably minister. 

Roderigo. Well. 

/ago. Sir, he is rash and very sudden in choler, 
and haply may strike at you. Provoke him that he 
may ; for even out of that will I cause these of Cyprus 270 
to mutiny, whose qualification shall come into no true 
taste again but by the displanting of Cassio. So shall 
you have a shorter journey to your desires by the 
means I shall then have to prefer them ; and the im- 
pediment most profitably removed without the which 
there were no expectation of our prosperity. 

Roderigo. I will do this, if I can bring it to any 
opportunity. 

/ago. I warrant thee. Meet me by and by at the 
citadel ; 
I must fetch his necessaries ashore. Farewell. 280 

Roderigo. Adieu. [Exit. 

/ago. That Cassio loves her, I do well believe it; 
That she loves him, 't is apt and of great credit. 
The Moor, howbeit that I endure him not, 
Is of a constant, loving, noble nature, 



62 Othello [Act II 

And I dare think he '11 prove to Desdemona 

A most dear husband. Now, I do love her too ; 

Not out of absolute lust, though peradventure 

I stand accountant for as great a sin, 

But partly led to diet my revenge, 290 

For that I do suspect the lusty Moor 

Hath leap'd into my seat ; the thought whereof 

Doth like a poisonous mineral gnaw my inwards, 

And nothing can or shall content my soul 

Till I am even'd with him, wife for wife, 

Or failing so, yet that I put the Moor 

At least into a jealousy so strong 

That judgment cannot cure. Which thing to do, 

If this poor trash of Venice, whom I trash 

For his quick hunting, stand the putting on, 300 

I '11 have our Michael Cassio on the hip, 

Abuse him to the Moor in the rank garb, — 

For I fear Cassio with my nightcap too, — 

Make the Moor thank me, love me, and reward me, 

For making him egregiously an ass 

And practising upon his peace and quiet 

Even to madness. 'T is here, but yet confus'd ; 

Knavery's plain face is never seen till us'd. [Exit. 

Scene II. A Street 

Enter a Herald with a proclamation ; People following 

Herald. It is Othello's pleasure, our noble and 
valiant general, that, upon certain tidings now arrived, 






] Scene III] Othello 63 

importing the mere perdition of the Turkish fleet, every 
j! man put himself into triumph ; some to dance, some to 

make bonfires, each man to what sport and revels his 
i addiction leads him, for, besides these beneficial news, 
: it is the celebration of his nuptial. So much was his 

pleasure should be proclaimed. All offices are open, 
I and there is full liberty of feasting from this present 

hour of five till the bell have told eleven. Heaven 

bless the isle of Cyprus and our noble general Othello ! 

[Exeunt 

Scene III. A Hall in the Castle 

, Enter Othello, Desdemona, Cassio, and Attendants 

Othello. Good Michael, look you to the guard to-night ; 
: Let 's teach ourselves that honourable stop, 
Not to outsport discretion. 

Cassio. Iago hath direction what to do ; 
But, notwithstanding, with my personal eye 
Will I look to 't. 

Othello. Iago is most honest. 

; Michael, good night ; to-morrow with your earliest 
Let me have speech with you. — [To Desdemona] Come, 

my dear love. — 
Good night. 

[Exeunt Othello, Desdemona, and Attendants. 

Enter Iago 

Cassio. Welcome, Iago ; we must to the watch. 10 
Iago. Not this hour, lieutenant ; 't is not yet ten o' 



64 Othello [Act ii 

the clock. Our general cast us thus early for the love 
of his Desdemona, who let us not therefore blame, 

Cassio. She 's a most exquisite lady. 

Iago. What an eye she has ! methinks it sounds a 
parley of provocation. 

Cassio. An inviting eye; and yet methinks right 
modest. 

Iago. And when she speaks, is it not an alarum to love ? 

Cassio. She is indeed perfection. 20 

Iago. Well, happiness to their sheets ! Come, lieu- 
tenant, I have a stoup of wine ; and here without are 
a brace of Cyprus gallants that would fain have a 
measure to the health of black Othello. 

Cassio. Not to-night, good Iago. I have very poor 
and unhappy brains for drinking; I could well wish 
courtesy would invent some other custom of entertain- 
ment. 

Iago. O, they are our friends ; but one cup. I '11 
drink for you. 30 

Cassio. I have drunk but one cup to-night, and that 
was craftily qualified too, and behold what innovation 
it makes here. I am unfortunate in the infirmity, and 
dare not task my weakness with any more. 

Iago. W r hat, man ! \ is a night of revels ; the gal- 
lants desire it. 

Cassio. Where are they? 

Iago. Here at the door ; I pray you, call them in. 

Cassio. 1 '11 do 't ; but it dislikes me. [Exit. 

Iago. If I can fasten but one cup upon him, 40 



Scene III] Othello 65 

With that which he hath drunk to-night already, 

! He '11 be as full of quarrel and offence 
As my young mistress' dog. Now, my sick fool Roderigo, 

! Whom love hath turn'd almost the wrong side out, 
To Desdemona hath to-night carous'd 
Potations pottle-deep ; and he 's to watch. 

I Three lads of Cyprus, — noble swelling spirits, 
That hold their honours in a wary distance, 
The very elements of this warlike isle, — 
Have I to-night fluster'd with flowing cups, 50 

And they watch too. Now, 'mongst this flock of drunk- 
ards, 
Am I to put our Cassio in some action 
That may offend the isle. — But here they come ; 
If consequence do but approve my dream, 
My boat sails freely, both with wind and stream. 

Re-enter Cassio; with him Montano and Gentleman; 
Servants following with wine 

Cassio. Fore God, they have given me a rouse already. 
Montano. Good faith, a little one ; not past a pint, as 
j I am a soldier. 

/ago. Some wine, ho ! 

[Sings] And let me the canakin clink, clink I 60 

And let me the canakin clink ! 
A soldier 's a man ; 
A life *s but a span ; 
Why, then, let a soldier drink I 
Some wine, boys ! 

OTHELLO — 5 



66 Othello [Act ii 

Cassio. Fore God, an excellent song. 
lago. I learned it in England, where, indeed, they 
are most potent in potting; your Dane, your German, 
and your swag-bellied Hollander — Drink, ho! — are 
nothing to your English. 7 o 

Cassio. Is your Englishman so exquisite in his drink- 
ing? 

Iago. Why, he drinks you with facility your Dane 
dead drunk ; he sweats not to overthrow your Almain ; 
he gives your Hollander a vomit ere the next pottle 
can be filled. 

Cassio. To the health of our general ! 
Montano. I am for it, lieutenant ; and I '11 do you 
justice. 

Iago. O sweet England ! 80 

[Sings] King Stephen was a worthy peer, 

His bi'eeches cost him but a crown ; 
He held them sixpence all too dear, 

With that he calPd the tailor town. 
He was a wight of high renown, 

And thou art but of low degree. 
'T is pride that pulls the country down; 
Then take thine auld cloak about thee. 
Some wine, ho ! 

Cassio. Why, this is a more exquisite song than the 90 
other. 

Iago. Will you hear 't again ? 

Cassio. No ; for I hold him to be unworthy of 
his place that does those things. Well, God 's above 



Scene III] Othello 67 

all ; and there be souls must be saved, and there be 
souls must not be saved. 

Iago. It 's true, good lieutenant. 

Cassio. For mine own part, — no offence to the 
general, nor any man of quality, — I hope to be saved. 

Iago. And so do I too, lieutenant. 100 

Cassio. Ay, but, by your leave, not before me ; the 
lieutenant is to be saved before the ancient. Let 's 
have no more of this ; let 's to our affairs. — Forgive 
us our sins ! — Gentlemen, let 's look to our business. 
— Do not think, gentlemen, I am drunk : this is my 
ancient; this is my right hand, and this is my left. 
I am not drunk now ; I can stand well enough, and 
speak well enough. 

All. Excellent well. 109 

Cassio. Why, very well then ; you must not think 
then that I am drunk. \_Exit. 

Montano. To the platform, masters ; come, let 's 
set the watch. 

Iago. You see this fellow 7 that is gone before : 
He is a soldier fit to stand by Caesar 
And give direction ; and* do but see his vice. 
'T is to his virtue a just equinox, 
The one as long as the other ; *t is pity of him. 
I fear the trust Othello puts him in, 
On some odd time of his infirmity, 120 

Will shake this island. 

Montano. But is he often thus? 

Iago. T is evermore the prologue to his sleep; 



68 Othello [Act II 

He '11 watch the horologe a double set, 
If drink rock not his cradle. 

Montano. It were well 

The general were put in mind of it. 
Perhaps he sees it not, or his good nature 
Prizes the virtue that appears in Cassio 
And looks not on his evils ; is not this true ? 

Enter Roderigo 

/ago. [Aside ta him'] How now, Roderigo ! 129 

I pray you, after the lieutenant ; go. [Exit Roderigo. 

Montano. And 't is great pity that the noble Moor 
Should hazard such a place as his own second 
With one of an ingraft infirmity ; 
It were an honest action to say 
So to the Moor. 

/ago. Not I, for this fair island ; 

I do love Cassio well, and would do much 
To cure him of this evil — But, hark ! what noise ? 

[Cry within : ' Help ! help ! ' 

Enter Cassio, pursuing Roderigo 

Cassio. You rogue ! you rascal ! 
Montano. What 's the matter, lieutenant? 

Cassio. A knave teach me my duty ! 
I '11 beat the knave into a twiggen bottle. 140 

Roderigo. Beat me ! 
Cassio. Dost thou prate, rogue? 

[Striking Roderigo. 



Scene III] Othello 69 

Montano. Nay, good lieutenant \ 

[Staying him. 
I pray you, sir, hold your hand. 

Cassio. Let me go, sir, 

Or I '11 knock you o'er the mazzard. 

Montano. Come, come, you 're drunk. 

Cassio. Drunk ! [They fight. 

/ago. [Aside to Roderigo'] Away, I say ; go out, and 
cry a mutiny. — [Exit Roderigo. 

Nay, good lieutenant, — alas, gentlemen ! — 
Help, ho ! — Lieutenant, — sir, — Montano, — sir ; — 
Help, masters ! — Here 's a goodly watch indeed ! — 

[Bell rings. 
Who 's that which rings the bell? — Diablo, ho ! 
The town will rise ; God's will, lieutenant, hold ! 150 

You will be sham'd for ever. 

Enter Othello and Attendants 

Othello. What is the matter here? 

Montano. Zounds, I bleed still; I am hurt to the 
death. [Faints. 

Othello. Hold, for your lives ! 

/ago. Hold, ho ! Lieutenant, — sir, — Montano, — 
gentlemen ! — 
Have you forgot all sense of place and duty ? 
Hold ! the general speaks to you ; hold, hold, for 
shame ! 
Othello. Why, how now, ho ! from whence ariseth 
this? 



70 Othello [Act II 

Are we turn'd Turks, and to ourselves do that 

Which heaven hath forbid the Ottomites? 

For Christian shame, put by this barbarous brawl ! 160 

He that stirs next to carve for his own rage 

Holds his soul light ; he dies upon his motion. — 

Silence that dreadful bell ! it frights the isle 

From her propriety. — What is the matter, masters? — 

Honest Iago, that look'st dead with grieving, 

Speak, who began this? on thy love, I charge thee. 

Iago. I do not know : friends all but now, even now, 
In quarter, and in terms like bride and groom 
Devesting them for bed; and then, but now — 
As if some planet had unwitted men — 170 

Swords out, and tilting one at other's breast, 
In opposition bloody. I cannot speak 
Any beginning to this peevish odds, 
And would in action glorious I had lost 
Those legs that brought me to a part of it ! 

Othello. How conies it, Michael, you are thus forgot ? 

Cassio. I pray you, pardon me ; I cannot speak. 

Othello. Worthy Montano, you were wont be civil ; 
The gravity and stillness of your youth 
The world hath noted, and your name is great 180 

In mouths of wisest censure. What* s the matter, 
That you unlace your reputation thus, 
And spend your rich opinion for the name 
Of a night-brawler? give me answer to it. 

Montano. Worthy Othello, I am hurt to danger. 
Your officer, Iago, can inform you, — 



Scene III] Othello 71 

While I spare speech, which something now offends me, — 

Of all that I do know ; nor know I aught 

By me that 's said or done amiss this night, 

Unless self-charity be sometimes a vice, 190 

And to defend ourselves it be a sin 

When violence assails us. 

Othello. Now, by heaven, 

My blood begins my safer guides to rule ; 
And passion, having my best judgment collied, 
Assays to lead the way. If I once stir, 
Or do but lift this arm, the best of you 
Shall sink in my rebuke. Give me to know 
How this foul rout began, who set it on, 
And he that is approv'd in this offence, 
Though he had twinn'd with me, both at a birth, 200 

Shall lose me. — What ! in a town of war, 
Yet wild, the people's hearts brimful of fear, 
To manage private and domestic quarrel, 
In night, and on the court and guard of safety ! 
'T is monstrous. — Iago, who began 't? 

Montano. If partially affin'd, or leagu'd in office, 
Thou dost deliver more or less than truth, 
Thou art no soldier. 

Iago. Touch me not so near. 

I had rather have this tongue cut from my mouth 
Than it should do offence to Michael Cassio \ 210 

Yet, I persuade myself, to speak the truth 
Shall nothing wrong him. — Thus it is, general. 
Montano and myself being in speech, 



72 Othello [Act ii 

There comes a fellow crying out for help, 

And Cassio following him with determin'd sword, 

To execute upon him. Sir, this gentleman 

Steps in to Cassio and entreats his pause ; 

Myself the crying fellow did pursue, 

Lest by his clamour — as it so fell out — 

The town might fall in fright; he, swift of foot, 220 

Outran my purpose, and I return'd the rather 

For that I heard the clink and fall of swords, 

And Cassio high in oath, which till to-night 

I ne'er might say before. When I came back — 

For this was brief — I found them close together, 

At blow and thrust, even as again they were 

When you yourself did part them. 

More of this matter cannot I report. 

But men are men ; the best sometimes forget. 

Though Cassio did some little wrong to him, 230 

As men in rage strike those that wish them best, 

Yet surely Cassio, I believe, receiv'd 

From him that fled some strange indignity 

Which patience could not pass. 

Othello. I know, Iago, 

Thy honesty and love doth mince this matter, 
Making it light to Cassio. — Cassio, I love thee ; 
But never more be officer of mine. — 

Re-enter Desdemona, attended 

Look, if my gentle love be not rais'd up ! — 
I '11 make thee an example. 



(Scene III] Othello 73 

Desdetnona. What 's the matter? 

Othello. All 's well now, sweeting \ come away to bed. — 
Sir, for your hurts, myself will be your surgeon. — 241 
'Lead him off. — \_Montano is led off. 

Iago, look with care about the town, 
And silence those whom this vile brawl distracted. — 
Come, Desdemona ; \ is the soldiers* life 
To have their balmy slumbers wak'd with strife. 

[Exeunt all but Iago and Cassio. 

Iago. What, are you hurt, lieutenant? 

Cassio. Ay, past all surgery. 

Iago. Marry, heaven forbid ! 

Cassio. Reputation, reputation, reputation ! O, 1 250 
have lost my reputation ! I have lost the immortal 
part of myself, and what remains is bestial. My repu- 
tation, Iago, my reputation ! 

Iago. As I am an honest man, I thought you had 
received some bodily wound ; there is more sense in 
that than in reputation. Reputation is an idle and 
most false imposition ; oft got without merit, and lost 
without deserving. You have lost no reputation at all, 
unless you repute yourself such a loser. What, man ! 
there are ways to recover the general again. You 260 
are but now cast in his mood, a punishment more 
in policy than in malice ; even so as one would beat 
I his offenceless dog to affright an imperious lion. Sue 
to him again and he 's yours. 

Cassio, I would rather sue to be despised than 
' to deceive so good a commander with so slight, so 



74 Othello [Act II 

drunken, and so indiscreet an officer. Drunk? and 
speak parrot? and squabble? swagger? swear? and 
discourse fustian with one's own shadow? — O thou 
invisible spirit of wine, if thou hast no name to be 
known by, let us call thee devil ! 271 

/ago. What was he that you followed with your 
sword ? What had he done to you ? 

Cassio. I know not. 

lago. Is 't possible? 

Cassio, I remember a mass of things, but nothing 
distinctly ; a quarrel, but nothing wherefore. — O God, 
that men should put an enemy in their mouths to steal 
away their brains ! that we should, with joy, pleasance, 
revel, and applause, transform ourselves into beasts ! 280 

lago. Why, but you are now well enough; how 
came you thus recovered ? 

Cassio. It hath pleased the devil drunkenness to 
give place to the devil wrath ; one unperfectness 
shows me another, to make me frankly despise myself. 

lago. Come, you are too severe a moraler. As the 
time, the place, and the condition of this country 
stands, I could heartily wish this had not befallen; 
but, since it is as it is, mend it for your own good. 

Cassio. I will ask him for my place again ; he shall 290 
tell me I am a drunkard ! Had I as many mouths 
as Hydra, such an answer would stop them all. To 
be now a sensible man, by and by a fool, and pres- 
ently a beast ! O strange ! Every inordinate cup is 
unblest, and the ingredient is a devil. 



Scene III] Othello 75 

lago. Come, come, good wine is a good familiar 
creature, if it be well used ; exclaim no more against it. 
And, good lieutenant, I think you think I love you. 

Cassio. I have well approved it, sir. — I drunk ! 

Iago, You or any man living may be drunk at a 300 
time, man. I '11 tell you what you shall do. Our 
general's wife is now the general ; I may say so in 
this respect, for that he hath devoted and given up 
; himself to the contemplation, mark, and denotement 
of her parts and graces. Confess yourself freely to 
her; importune her help to put you in your place 
again. She is of so free, so kind, so apt, so blessed 
a disposition, she holds it a vice in her goodness not 
to do more than she is requested. This broken joint 
between you and her husband entreat her to splinter ; 310 
and, my fortunes against any lay worth naming, this crack 
of your love shall grow stronger than it was before. 

Cassio. You advise me well. 

lago. I protest, in the sincerity of love and honest 
kindness. 

Cassio. I think it freely ; and betimes in the morn- 
ing I will beseech the virtuous Desdemona to under- 
take for me. I am desperate of my fortunes if they 
check me here. 

lago. You are in the right. Good night, lieuten- 320 
ant ; I must to the watch. 

Cassio. Good night, honest lago. \_Exit. 

lago. And what 's he then that says I play the villain, 
When this advice is free I give and honest, 



y6 Othello [Act II 

Probal to thinking, and indeed the course 

To win the Moor again ? For 't is most easy 

The inclining Desdemona to subdue 

In any honest suit; she 's fram'd as fruitful 

As the free elements. And then for her 

To win the Moor — were 't to renounce his baptism, 330 

All seals and symbols of redeemed sin, 

His soul is so enfetter'd to her love 

That she may make, unmake, do what she list, 

Even as her appetite shall play the god 

With his weak function. How am I then a villain 

To counsel Cassio to this parallel course, 

Directly to his good ? — Divinity of hell ! 

When devils will the blackest sins put on, 

They do suggest at first with heavenly shows, 

As I do now ; for whiles this honest fool 340 

Plies Desdemona to repair his fortunes, 

And she for him pleads strongly to the Moor, 

I 41 pour this pestilence into his ear, — 

That she repeals him for her body's lust, 

And by how much she strives to do him good 

She shall undo her credit with the Moor. 

So will I turn her virtue into pitch, 

And out of her own goodness make the net 

That shall enmesh them all. — 

Enter Roderigo 

How now, Roderigo ! 
Roderigo. I do follow here in the chase, not like a 350 



Scene III] Othello 77 

hound that hunts, but one that fills up the cry. My 
money is almost spent ; I have been to-night exceed- 
ingly well cudgelled ; and I think the issue will be, I 
shall have so much experience for my pains, and so, 
with no money at all and a little more wit, return 
again to Venice. 

lago. How poor are they that have not patience ! 
What wound did ever heal but by degrees? 
Thou know'st we work by wit and not by witchcraft, 
And wit depends on dilatory time. 360 

Does 't not go well? Cassio hath beaten thee, 
And thou, by that small hurt, hast cashier'd Cassio. 
Though other things grow fair against the sun, 
Yet fruits that blossom first will first be ripe ; 
Content thyself awhile. — By the mass, 't is morning ; 
Pleasure and action make the hours seem short. 
Retire thee ; go where thou art billeted. 
Away, I say ; thou shalt know more hereafter. 
Nay, get thee gone. — [Exit Roderigo.~\ Two things 

are to be done : 
My wife must move for Cassio to her mistress, 370 

I '11 set her on ; 

Myself the while to draw the Moor apart, 
And bring him jump when he may Cassio find 
Soliciting his wife. — Ay, that 's the way; 
Dull not device by coldness and delay. [Exit. 




Venetian Remains at Famagusta 



ACT III 



Scene I. Before the Castle 

Enter Cassio and some Musicians 

Cassio. Masters, play here ; I will content your pains : 
Something that 's brief ; and bid good morrow, general. 

[Music. 
Enter Clown 

Clown. Why, masters, have your instruments been 
in Naples, that they speak i' the nose thus ? 
i Musician. How, sir, how ! 
Clown. Are these, I pray you, wind instruments ? 

78 



Scene I] Othello 79 

1 Musician, Ay, marry, are they, sir. 

Clown. 0, thereby hangs a tale. But, masters, 
here 's money for you ; and the general so likes your 
|| music that he desires you, for love's sake, to make 10 
no more noise with it. 

1 Musician. Well, sir, we will not. 

Clown. If you have any music that may not be 
heard, to 't again ; but, as they say, to hear music 
the general does not greatly care. 

1 Musician. We have none such, sir. 

Clown. Then put up your pipes in your bag, for 
I '11 away. Go ; vanish into air ; away ! 

[Exeunt Musicians. 

Cassio. Dost thou hear, my honest friend ? 

Clown. No, I hear hot your honest friend ; I hear 20 
you. 

Cassio. Prithee, keep up thy quillets. There 's a 
poor piece of gold for thee. If the gentlewoman that 
attends the general's wife be stirring, tell her there 's 
one Cassio entreats her a little favour of speech ; wilt 
thou do this ? 

Clown. She is stirring, sir ; if she will stir hither, 
I shall seem to notify unto her. 

Cassio. Do, good my friend. — [Exit Clown. 

Enter Iago 

In happy time, Iago. 
Iago. You have not been a-bed, then ? 30 

Cassio. Why, no ; the day had broke 



80 Othello [Act in 

Before we parted. I have made bold, Iago, 
To send in to your wife ; my suit to her 
Is that she will to virtuous Desdemona 
Procure me some access. 

Iago. I '11 send her to you presently ; 

And I '11 devise a mean to draw the Moor 
Out of the way, that your converse and business 
May be more free. 

Cassio. I humbly thank you for 't. — [Exit Iago.'] I 
never knew 
A Florentine more kind and honest. 40 

Enter Emilia 

Emilia. Good morrow, good lieutenant ; I am sorry 
For your displeasure, but all will sure be well. 
The general and his wife were talking of it, 
And she speaks for you stoutly. The Moor replies, 
That he you hurt is of great fame in Cyprus 
And great affinity, and that in wholesome wisdom 
He might not but refuse you ; but he protests he loves 

you, 
And needs no other suitor but his likings 
To take the saf 'st occasion by the front 
To bring you in again. 

Cassio. Yet, I beseech you, 50 

If you think fit, or that it may be done, 
Give me advantage of some brief discourse 
With Desdemona alone. 



Scene III] Othello 8 1 

Emilia. Pray you, come in ; 

I will bestow you where you shall have time 
To speak your bosom freely. 

Cassio. I am much bound to you. 

[Exeunt 
Scene II. A Room in the Castle 

Enter Othello, Iago, and Gentlemen 

Othello. These letters give, Iago, to the pilot, 
And by him do my duties to the senate. 
That done, I will be walking on the works ; 
Repair there to me. 

Iago. Well, my good lord, I '11 do 't. 

Othello. This fortification, gentlemen, shall we see \ ? 

Gentlemen. We '11 wait upon your lordship. \_Exeunt. 

Scene III. The Garden of the Castle 
Enter Desdemona, Cassio, and Emilia 

Desdemona. Be thou assur'd, good Cassio, I will do 
All my abilities in thy behalf. 

Emilia. Good madam, do ; I warrant it grieves 
my husband 
As if the case were his. 

Desdemona. O, that 's an honest fellow. — Do not 
doubt, Cassio, 
But I will have my lord and you again 
As friendly as you were. 

Cassio. Bounteous madam, 

OTHELLO — 6 



82 Othello [Act in 

Whatever shall become of Michael Cassio, 
He 's never any thing but your true servant. 

Desdemona. I know 't ; I thank you. You do love 
my lord ; 10 

You have known him long, and be you well assur'd 
He shall in strangeness stand no further off 
Than in a politic distance. 

Cassio, Ay, but, lady, 

That policy may either last so long, 
Or feed upon such nice and waterish diet, 
Or breed itself so out of circumstance, 
That, I being absent and my place supplied, 
My general will forget my love and service. 

Desdemona. Do not doubt that ; before Emilia here 
I give thee warrant of thy place. Assure thee, 20 

If I do vow a friendship, I '11 perform it 
To the last article. My lord shall never rest ; 
I '11 watch him tame and talk him out of patience ; 
His bed shall seem a school, his board a shrift ; 
I '11 intermingle every thing he does 
With Cassio's suit. Therefore be merry, Cassio ; 
For thy solicitor shall rather die 
Than give thy cause away. 

Emilia. Madam, here comes my lord. 

Cassio. Madam, I '11 take my leave. 30 

Desdemona. Why, stay, and hear me speak. 

Cassio. Madam, not now ; I am very ill at ease, 
Unfit for mine own purposes. 

Desdemona. Well, do your discretion. [Exit Cassio. 



Scene III] Othello 83 

Enter Othello and Iago 

Iago. Ha ! I like not that. 

Othello. What dost thou say ? 

Iago. Nothing, my lord ; or if — I know not what. 

Othello. Was not that Cassio parted from my wife ? 

Iago. Cassio, my lord ! No, sure, I cannot think it 
That he would steal away so guilty-like, 
Seeing you coming. 

Othello. I do believe 't was he. 40 

Desdemona. How now, my lord ! 
I have been talking with a suitor here, 
A man that languishes in your displeasure. 

Othello. Who is 't you mean ? 

Desdemona. Why, your lieutenant Cassio. Good my 
lord, 
If I have any grace or power to move you, 
His present reconciliation take ; 
For if he be not one that truly loves you, 
That errs in ignorance and not in cunning, 
I have no judgment in an honest face. 50 

I prithee, call him back. 

Othello. Went he hence now ? 

Desdemona. Ay, sooth ; so humbled 
That he hath left part of his grief with me, 
To suffer with him. Good love, call him back. 

Othello. Not now, sweet Desdemona ; some other time. 

Desdemo?ia. But shall 't be shortly ? 

Othello. The sooner, sweet, for you. 



84 Othello [Act in 

Desdemona. Shall 't be to-night at supper ? 

Othello. No, not to-night. 

Desdemona. To-morrow dinner, then ? 

Othello. I shall not dine at home ; 

I meet the captains at the citadel. 

Desdemona. Why, then, to-morrow night, or Tues- 
day morn, 60 
On Tuesday noon or night, on Wednesday morn ; 
I prithee name the time, but let it not 
Exceed three days. In faith, he 's penitent ; 
And yet his trespass, in our common reason — 
Save that, they say, the wars must make examples 
Out of their best — is not almost a fault 
To incur a private check. When shall he come ? 
Tell me, Othello ; I wonder in my soul 
What you would ask me that I should deny, 
Or stand so mammering on. What ! Michael Cassio, 70 
That came a-wooing with you, and so many a time, 
When I have spoke of you dispraisingly, 
Hath ta'en your part, — to have so much to do 
To bring him in ! Trust me, I could do much — 

Othello. Prithee, no more. Let him come when he 
will; 
I will deny thee nothing. 

Desdemona. Why, this is not a boon ; 

'T is as I should entreat you wear your gloves, 
Or feed on nourishing dishes, or keep you warm, 
Or sue to you to do a peculiar profit 
To your own person. Nay, when I have a suit 80 



Scene III] Othello 85 

Wherein I mean to touch your love indeed, 
It shall be full of poise and difficult weight, 
And fearful to be granted. 

Othello, I will deny thee nothing ; 

Whereon, I do beseech thee, grant me this, 
To leave me but a little to myself. 

Desdemona. Shall I deny you ? no ; farewell, my 

lord. 
Othello. Farewell, my Desdemona ; I '11 come to thee 

straight. 
Desdemona. Emilia, come. — Be as your fancies teach 
you; 
Whate'er you be, I am obedient. 

[Exeunt Desdemona and Emilia. 
Othello. Excellent wretch ! Perdition catch my 
soul 90 

But I do love thee ! and when I love thee not, 
Chaos is come again. 
Iago. My noble lord, — 

Othello. What dost thou say, Iago ? 

Iago. Did Michael Cassio, when you woo'd my lady, 
Know of your love ? 

Othello. He did, from first to last ; why dost thou 

ask? 
Iago. But for a satisfaction of my thought ; 
No further harm. 

Othello. Why of thy thought, Iago ? 

Iago. I did not think he had been acquainted with 
her. 






86 Othello [Act in 

Othello, O, yes ; and went between us very oft. ioo 

lago. Indeed ! 

Othello. Indeed ! ay, indeed ; discern 'st thou aught 
in that ? 
Is he not honest ? 

lago. Honest, my lord ! 

Othello. Honest ! ay, honest. 

lago. My lord, for aught I know. 

Othello. What dost thou think ? 

lago. Think, my lord ! 

Othello. Think, my lord ! 

By heaven, he echoes me, 
As if there were some monster in his thought 
Too hideous to be shown. — Thou dost mean some- 
thing. 
I heard thee say even now, thou lik'dst not that, 
When Cassio left my w r ife ; what didst not like ? no 

And when I told thee he was of my counsel 
In my whole course of wooing, thou criedst ' Indeed ! ' 
And didst contract and purse thy brow together, 
As if thou then hadst shut up in thy brain 
Some horrible conceit. If thou dost love me, 
Show me thy thought. 

lago. My lord, you know I love you. 

Othello. I think thou dost, 

And, for I know thou 'rt full of love and honesty, 
And weigh 'st thy words before thou giv'st them breath, 
Therefore these stops of thine fright me the more ; 120 
For such things in a false disloyal knave 



Scene III] Othello 87 

Are tricks of custom, but in a man that 's just 
They are close delations, working from the heart 
That passion cannot rule. 

lago. For Michael Cassio, 

I dare be sworn I think that he is honest. 

Othello. I think so too. 

lago. Men should be what they seem ; 

Or those that be not, would they might seem none ! 

Othello. Certain, men should be what they seem. 

lago. Why, then, I think Cassio J s an honest man. 

Othello. Nay, yet there 's more in this. 130 

I prithee, speak to me as to thy thinkings, 
As thou dost ruminate, and give thy worst of thoughts 
The worst of words. 

lago. Good, my lord, pardon me ; 

Though I am bound to every act of duty, 
I am not bound to that all slaves are free to. 
Utter my thoughts ? Why, say they are vile and 

false, — 
As where 's that palace whereinto foul things 
Sometimes intrude not ? who has a breast so pure, 
But some uncleanly apprehensions 
Keep leets and law-days, and in session sit 140 

With meditations lawful ? 

Othello. Thou dost conspire against thy friend, lago, 
If thou but think'st him wrong'd and mak'st his ear 
A stranger to thy thoughts. 

lago. I do beseech you — 

Though I perchance am vicious in my guess, 



88 Othello [Act in 

As, I confess, it is my nature's plague 

To spy into abuses, and oft my jealousy 

Shapes faults that are not — that your wisdom yet, 

From one that so imperfectly conceits, 

Would take no notice, nor build yourself a trouble 150 

Out of his scattering and unsure observance. 

It were not for your quiet nor your good, 

Nor for my manhood, honesty, or wisdom, 

To let you know my thoughts. 

Othello. What dost thou mean ? 

Iago. Good name in man and woman, dear my lord, 
Is the immediate jewel of their souls. 
Who steals my purse steals trash ; 't is something, nothing; 
'T was mine, 't is his, and has been slave to thousands ; 
But he that filches from me my good name 
Robs me of that which not enriches him 160 

And makes- me poor indeed. 

Othello. By heaven, I '11 know thy thoughts. 

Iago. You cannot if my heart were in your hand, 
Nor shall not whilst 't is in my custody. 

Othello. Ha! 

Iago. O, beware, my lord, of jealousy ! 

It is the green-eyed monster which doth mock 
The meat it feeds on. That cuckold lives in bliss 
Who, certain of his fate, loves not his wronger ; 
But, O, what damned minutes tells he o'er 
Who dotes, yet doubts, suspects, yet strongly loves ! 170 

Othello. O misery ! 

Iago. Poor and content is rich, and rich enough ; 



Scene III] Othello 89 

But riches fineless is as poor as winter 
To him that ever fears he shall be poor. 
Good heaven, the souls of all my tribe defend 
From jealousy ! 

Othello. Why, why is this ? 

Think'st thou I 'd make a life of jealousy, 
To follow still the changes of the moon 
With fresh suspicions ? No ; to be once in doubt 
Is once to be resolv'd. Exchange me for a goat 180 
When I shall turn the business of my soul 
To such exsufflicate and blown surmises, 
Matching thy inference. 'T is not to make me jealous 
To say my wife is fair, feeds well, loves company, 
Is free of speech, sings, plays, and dances well — 
Where virtue is, these are more virtuous ; 
Nor from mine own weak merits will I draw 
The smallest fear or doubt of her revolt, 
For she had eyes, and chose me. No, Iago ! 
I '11 see before I doubt ; when I doubt, prove ; 190 

And on the proof there is no more but this, — 
Away at once with love or jealousy ! 

Iago. I am glad of it, for now I shall have reason 
To show the love and duty that I bear you 
With franker spirit ; therefore, as I am bound, 
Receive it from me. I speak not yet of proof. 
Look to your wife ; observe her well with Cassio ; 
Wear your eye thus, not jealous nor secure. 
I would not have your free and noble nature 
Out of self-bounty be abus'd ; look to 't. 200 



9<o Othello [Act in 

I know our country disposition well. 

In Venice they do let heaven see the pranks 

They dare not showtheir husbands ; their best conscience 

Is not to leave 't undone, but keep 't unknown. 

Othello. Dost thou say so ? 

lago. She did deceive her father, marrying you ; 
And when she seem'd to shake and fear your looks, 
She lov'd them most. 

Othello. And so she did. 

lago. Why, go to, then ; 

She that, so young, could give out such a seeming, 
To seel her father's eyes up close as oak— 210 

He thought 't was witchcraft — but I am much to blame ; 
I humbly do beseech you of your pardon 
For too much loving you. 

Othello. I am bound to thee for ever. 

lago. I see this hath a little dash'd your spirits. 

Othello. Not a jot, not a jot. 

lago. V faith, I fear it has. 

I hope you will consider what is spoke 
Comes from my love. But I do see you 're mov'd ; 
I am to pray you not to strain my speech 
To grosser issues nor to larger reach 
Than to suspicion. 220 

Othello. I will not. 

lago. Should you do so, my lord, 

My speech should fall into such vile success 
As my thoughts aim not at. Cassio 's my worthy friend — 
My lord, I see you 're mov'd. 



Scene in] Othello 91 

Othello. No, not much mov'd ; 

I do not think but Desdemona 's honest. 

/ago. Long live she so ! and long live you to think so ! 

Othello. And yet, how nature erring from itself, — 

Iago. Ay, there 's the point ; as — to be bold with 
you — 
Not to affect many proposed matches 
Of her own clime, complexion, and degree, 230 

Whereto we see in all things nature tends — 
Foh ! one may smell in such a will most rank, 
Foul disproportion, thoughts unnatural. — 
But pardon me ; I do not in position 
Distinctly speak of her, though I may fear 
Her will, recoiling to her better judgment, 
May fall to match you with her country forms 
And happily repent. 

Othello. Farewell, farewell. 

If more thou dost perceive, let me know more ; 
Set on thy wife to observe. Leave me, Iago. 240 

Iago. [Going] My lord, I take my leave. 

Othello. Why did I marry? This honest creature 
doubtless 
Sees and knows more, much more, than he unfolds. 

Iago. [Returning] My lord, I would I might entreat 
your honour 
To scan this thing no further ; leave it to time. 
Though it be fit that Cassio have his place, 
For, sure, he fills it up with great ability, 
Yet, if you please to hold him off awhile, 






92 Othello [Act in 

You shall by that perceive him and his means. 

Note if your lady strain his entertainment 250 

With any strong or vehement importunity ; 

Much will be seen in that. In the mean time, 

Let me be thought too busy in my fears — 

As worthy cause I have to fear I am — 

And hold her free, I do beseech your honour. 

Othello. Fear not my government. 

Iago. I once more take my leave. [Exit. 

Othello. This fellow 's of exceeding honesty, 
And knows all qualities, with a learned spirit, 
Of human dealings. If I do prove her haggard, 260 
Though that her jesses were my dear heart-strings, 
I 'd whistle her off and let her down the wind, 
To prey at fortune. Haply, for I am black, 
And have not those soft parts of conversation 
That chamberers have, or for I am declin'd 
Into the vale of years, — yet that 's not much — 
She 's gone. I am abus'd ; and my relief 
Must be to loathe her. O curse of marriage, 
That we can call these delicate creatures ours, 
And not their appetites ! I had rather be a toad, 270 
And live upon the vapour of a dungeon, 
Than keep a corner in the thing I love 
For others' uses. Yet, 't is the plague of great ones ; 
Prerogative are they less than the base. 
'T is destiny unshunable, like death ; 
Even then this forked plague is fated to us 
When we do quicken. — Desdemona comes. 



Scene III] Othello 93 

Enter Desdemona and Emilia. 

If she be false, O, then heaven mocks itself ! 
I '11 not believe 't. 

Desdemona. How now, my dear Othello ! 

Your dinner, and the generous islanders 280 

By you invited, do attend your presence. 

Othello. I am to blame. 

Desdemona. Why do you speak so faintly ? 

Are you not well ? 

Othello. I have a pain upon my forehead here. 

Desde?nona. Faith, that 's with watching ; 't will away 
again. 
Let me but bind it hard, within this hour 
It will be well. 

Othello. Your napkin is too little ; 

[He puts the handkerchief from him ; and it drops. 
Let it alone. Come, I '11 go in with you. 

Desdemona. I am very sorry that you are not well. 

[Exeunt Othello and Desdemona. 

Emilia. I am glad I have found this napkin. 290 

This was her first remembrance from the Moor ; 
My wayward husband hath a hundred times 
Woo'd me to steal it, but she so loves the token, 
For he conjur'd her she should ever keep it, 
That she reserves it evermore about her 
To kiss and talk to. I '11 have the work ta'en 

out 
And give 't Iago. What he will do with it 



94 Othello [Act m 

Heaven knows, not I ; 

I nothing but to please his fantasy. 

Enter Iago 

/ago. How now ! what do you here alone ? 300 

Emilia. Do not you chide ; I have a thing for you. 

Iago. A thing for me ? it is a common thing — 

Emilia. Ha! 

Iago. To have a foolish wife. 

Emilia. O, is that all ? What will you give me now 
For that same handkerchief? 

Iago. What handkerchief? 

Emilia. What handkerchief ! 
Why, that the Moor first gave to Desdemona ; 
That which so often you did bid me steal. 

Iago. Hast stolen it from her ? 310 

Emilia. No, faith ; she let it drop by negligence, 
And, to the advantage, I, being here, took \ up. 
Look, here it is. 

Iago. A good wench ; give it me. 

Emilia. What will you do with 't, that you have been 
so earnest 
To have me filch it ? 

Iago. [Snatching it] Why, what 's that to you ? 

Emilia. If it be not for some purpose of import, 
Give 't me again ; poor lady, she '11 run mad 
When she shall lack it. 

Iago. Be not acknown on 't ; I have use for it. 319 
Go, leave me. — [Exit Emilia. 



Scene III] Othello 95 

I will in Cassio's lodging lose this napkin, 

And let him find it. Trifles light as air 

Are to the jealous confirmations strong ? 

As proofs of holy writ ; this may do something. 

The Moor already changes with my poison ; 

Dangerous conceits are in their natures poisons, 

Which at the first are scarce found to distaste, 

But with a little act upon the blood 

Burn like the mines of sulphur. — I did say so ; 

Look, where he comes ! 

Enter Othello 

Not poppy, nor mandragora, 330 
Nor all the drowsy syrups of the world, 
Shall ever medicine thee to that sweet sleep 
Which thou ow'dst yesterday. 

Othello. Ha ! ha ! false to me ? 

lago. Why, how now, general ! no more of that. 

Othello. Avaunt ! be gone ! thou hast set me on the 
rack. 
I swear 't is better to be much abus'd 
Than but to know 't a little. 

lago. How now, my lord ! 

Othello. What sense had I of her stolen hours of lust ? 
I saw 't not, thought it not, it harm'd not me. 
I slept the next night well, was free and merry ; 340 

I found not Cassio's kisses on her lips. 
He that is robbed, not wanting what is stolen, 
Let him not know 't, and he 's not robb'd at all. 



96 Othello [Act in 

lago. I am sorry to hear this. 

Othello, I had been happy if the general camp, 
Pioners and all, had tasted her sweet body, 
So I had nothing known. O, now, for ever 
Farewell the tranquil mind ! farewell content I 
Farewell the plumed troop, and the big wars, 
That make ambition virtue ! O, farewell ! 350 

Farewell the neighing steed, and the shrill trump, 
The spirit-stirring drum, the ear-piercing fife, 
The royal banner, and all quality, 
Pride, pomp, and circumstance of glorious war ! 
And, O you mortal engines, whose rude throats 
The immortal Jove's dread clamours counterfeit, 
Farewell ! Othello's occupation 's gone ! 

lago. Is 't possible, my lord ? 

Othello. Villain, be sure thou prove my love a whore, 
Be sure of it ; give me the ocular proof, 360 

Or, by the worth of man's eternal soul, 
Thou hadst been better have been born a dog 
Than answer my wak'd wrath ! 

lago. Is 't come to this ? 

Othello. Make me to see 't, or, at the least, so prove it 
That the probation bear no hinge nor loop 
To hang a doubt on ; or woe upon thy love ! 

lago. My noble lord, — 

Othello. If thou dost slander her and torture me, 
Never pray more ; abandon all remorse ; 
On horror's head horrors accumulate ; 370 

Do deeds to make heaven weep, all earth amaz'd ; 



1 



Scene III] Othello 97 

For nothing canst thou to damnation add 
Greater than that. 

lago. ■ O grace ! O heaven forgive me ! 

Are you a man ? have you a soul or sense ? 
God be wi' you ; take mine office. O wretched fool 
That liv'st to make thine honesty a vice ! 

monstrous world ! Take note, take note, O world, 
To be direct and honest is not safe. 

1 thank you for this profit ; and from hence 

I '11 love no friend, sith love breeds such offence. 380 

Othello. Nay, stay ; thou shouldst be honest. 

lago. I.should be, wise, for honesty 's a fool 
And loses that it works for. 
'Othello. By the world, 

I think my wife be honest, and think she is not ; 
I think that thou art just, and think thou art not. 
I '11 have some proof. Her name, that was as fresh 
As Dian's visage, is now begrim'd and black 
As mine own face. If there be cords, or knives, 
Poison, or fire, or suffocating streams, 
\ I '11 not endure it. Would I were satisfied I 390 

lago. I see, sir, you are eaten up with passion ; 
I do repent me that I put it to you. 
You would be satisfied ? 

Othello. Would ! nay, I will. 

lago. And may ; but, how ? how satisfied, my lord ? 
If imputation and strong circumstances, 
Which lead directly to the door of truth, 
Will give you satisfaction, you may have 't. 

OTHELLO — 7 

\ 



98 Othello [Act in 

Othello. Give me a living reason she 's disloyal. 

/ago. I do not like the office ; 
But, sith I am enter'd in this cause so far, , 400 

Prick'd to 't by foolish honesty and love, 
I will go on. I lay with Cassio lately ; 
And, being troubled with a raging tooth, 
I could not sleep. 

There are a kind of men so loose of soul 
That in their sleeps will mutter their affairs ; 
One of this kind is Cassio. 
In sleep I heard him say ' Sweet Desdemona, 
Let us be wary, let us hide our loves ; ' 
And then, sir, would he gripe and wring my hand, 410 
Cry ' O sweet creature i ' and then kiss me hard, 
As if he pluck'd up kisses by the roots 
That grew upon my lips ; and sigh'd, and then 
Cried ' Cursed fate that gave thee to the Moor ! ' 

Othello. O monstrous ! monstrous ! 

/ago. Nay, this was but his dream. 

Othello. But this denoted a foregone conclusion ; 
'T is a shrewd doubt, though it be but a dream. 

/ago. And this may help to thicken other proofs 
That do demonstrate thinly. 

Othello. I '11 tear her all to pieces ! 

/ago. Nay, but be wise : yet we see nothing done ; 420 
She may be honest yet. Tell me but this, 
Have you not sometimes seen a handkerchief 
Spotted with strawberries in your wife's hand ? 

Othello. I gave her such a one ; 't was my first gift. 



Scene III] Othello 99 

/ago. I know not that ; but such a handkerchief — 
I am sure it was your wife's — did I to-day 
See Cassio wipe his beard with. 

Othello. If it be that, — 

/ago. If it be that, or any that was hers, 
It speaks against her with the other proofs. 

Othello. O, that the slave had forty thousand 
lives ! 430 

One is too poor, too weak for my revenge. 
Now do I see 't is true. Look here, Iago ; 
All my fond love thus do I blow to heaven. — 
'T is gone. 

Arise, black vengeance, from the hollow hell ! 
Yield up, O love, thy crown and hearted throne 
To tyrannous hate ! Swell, bosom, with thy fraught, 
For 't is of aspics' tongues ! 

/ago. Yet be content. 

Othello. O, blood, blood, blood ! 

/ago. Patience, I say; your mind perhaps may 
change. 440 

Othello. Never, Iago. Like to the Pontic sea, 
Whose icy current and compulsive course 
Ne'er feels retiring ebb, but keeps due on 
To the Propontic and the Hellespont, 
Even so my bloody thoughts, with violent pace, 
Shall ne'er look back, ne'er ebb to humble love, 
Till that a capable and wide revenge 
Swallow them up. Now, by yond marble heaven, 

L of C. ; [Kneels. 



ioo Othello [Act in 

In the due reverence of a sacred vow 
I here engage my words. 

/ago. Do not rise yet. — [Kneels. 

Witness, you ever-burning lights above, 451 

You elements that clip us round about, 
Witness that here Iago doth give up 
The execution of his wit, hands, heart, 
To wrong'd Othello's service ! Let him command, 
And to obey shall be in me remorse, 
What bloody business ever. [They rise. 

Othello. I greet thy love, 

Not with vain thanks, but with acceptance bounteous, 
And will upon the instant put thee to 't ; 
Within these three days let me hear thee say 460 

That Cassio 's not alive. 

Iago. My friend is dead, 't is done at your request ; 
But let her live. 

Othello. Damn her, lewd minx ! O, damn her ! 

Come, go with me apart ; I will withdraw, 
To furnish me with some swift means of death 
For the fair devil. Now art thou my lieutenant. 

Iago. I am your own for ever. [Exeunt. 

Scene IV. Before the Castle 

Enter Desdemona, Emilia, and Clown 

Desdemona. Do you know, sirrah, where Lieuten- 
ant Cassio lies ? 

Clown. I dare not say he lies any where. 



Scene IV] Othello IOI 

Desdemona. Why, man ? 

Clown. He 's a soldier, and for one to say a soldier 
lies is stabbing. 

Desdemona. Go to ; where lodges he ? 

Clown. To tell you where he lodges is to tell you 
where I lie. 

Desdemona. Can any thing be made of this ? 10 

Clown. I know not where he lodges ; and for me 
to devise a lodging, and say he lies here or he lies 
there, were to lie in mine own throat. 

Desdemona. Can you inquire him out, and be edi- 
fied by report ? 

Clown. I will catechise the world for him ; that is, 
make questions, and by them answer. 

Desdemona. Seek him, bid him come hither ; tell 
him I have moved my lord on his behalf and hope 
all will be well. 20 

Clown. To do this is within the compass of man's 
wit, and therefore I will attempt the doing. [Exit. 

Desdemona. Where should I lose that handkerchief, 
Emilia ? 

Emilia. I know not, madam. 

Desdemona. Believe me, I had rather have lost my 
purse 
Full of crusadoes ; and, but my noble Moor 
Is true of mind and made of no such baseness 
As jealous creatures are, it were enough 
To put him to ill thinking. 

Emilia. Is he not jealous ? *-- 



102 Othello [Act in 

Desdemona. Who, he ? I think the sun where he was 

born 30 

Drew all such humours from him. 

Emilia. Look, where he comes. 

Desdemona. I will not leave him now till Cassio 

Be calFd to him. 

Enter Othello 

How is 't with you, my lord ? 
Othello. Well, my good lady. — [Aside] O, hardness 
to dissemble ! — 
How do you, Desdemona ? 

Desdemona. Well, my good lord. 

Othello. Give me your hand. This hand is moist, 

my lady. 
Desdemona. It yet hath felt no age nor known no 

sorrow. 
Othello. This argues fruitfulness and liberal heart. 
Hot, hot, and moist ! this hand of yours requires 
A sequester from liberty, fasting and prayer, 40 

Much castigation, exercise devout ; 
For here 's a young and sweating devil here, 
That commonly rebels. 'T is a good hand, 
A frank one. 

Desdemona. You may, indeed, say so, 
For 't was that hand that gave away my heart. 

Othello. A liberal hand ; the hearts of old gave hands, 
But our new heraldry is hands, not hearts. 

Desdemona. I cannot speak of this. Come now, 
your promise. 



Scene IV] Othello 103 

Othello. What promise, chuck ? 

Desdemona. I have sent to bid Cassio come speak 
with you. 50 

Othello. I have a salt and sorry rheum offends me ; 
Lend me thy handkerchief. 

Desdemona. Here, my lord. 

Othello. That which I gave you. 

Desdemona. I have it not about me. 

Othello. Not? 

Desdemona. No, indeed, my lord. 

Othello. That is a fault. 

That handkerchief 
Did an Egyptian to my mother give. 
She was a charmer, and could almost read 
The thoughts of people ; she told her, while she kept it, 
'T would make her amiable and subdue my father 
Entirely to her love, but if she lost it 60 

Or made a gift of it, my father's eye 
Should hold her loathed and his spirits should hunt 
After new fancies. She dying gave it me, 
And bid me, when my fate would have me wive, 
To give it her. I did so ; and take heed on % 
Make it a darling like your precious eye. 
To lose 't or give 't away were such perdition 
As nothing else could match. 

Desdemona. Is 't possible ? 

Othello. 'T is true ; there 's magic in the web of it. 
A sibyl, that had n umber 'd in the world 70 

The sun to course two hundred compasses, 



104 Othello [Act in 

In her prophetic fury sew'd the work ; 
The worms were hallow 'd that did breed the silk ; 
And it was dyed in mummy which the skilful 
Conserv'd of maidens' hearts. 

Desdemona. Indeed ! is 't true ? 

Othello. Most veritable ; therefore look to 't well. 

Desdemona. Then would to God that I had never 
seen 't! 

Othello. Ha ! wherefore ? 

Desdemona. Why do you speak so startingly and 
rash ? 

Othello. Is 't lost ? is 't gone ? speak, is it out o' the 
way ? 80 

Desdemona. Heaven bless us ! 

Othello. Say you ? 

Desdemona. It is not lost ; but what an if it were ? 

Othello. How! 

Desdemona. I say, it is not lost. 

Othello. Fetch 't, let me see 't. 

Desdemona. Why, so I can, sir, but I will not now. 
This is a trick to put me from my suit ; 
Pray you, let Cassio be receiv'd again. 

Othello. Fetch me the handkerchief ; my mind mis- 
gives. 

Desdemona. Come, come ; 90 

You '11 never meet a more sufficient man. 

Othello. The handkerchief ! 

Desdemona. I pray, talk me of Cassio. 

Othello. The handkerchief ! 



Scene IV] Othello 105 

Desdemona. A man that all his time 

Hath founded his good fortunes on your love, 
Shar'd dangers with you, — 

Othello. The handkerchief ! 

Desdemona. In sooth, you are to blame. 

Othello. Away ! [Exit. 

Emilia. Is not this man jealous ? 1 

Desdemona. I ne'er saw this before. 
Sure, there 's some wonder in this handkerchief; 100 
I am most unhappy in the loss of it. 

Emilia. 'T is not a year or two shows us a man. 
They are all but stomachs, and we all but food ; 
They eat us hungerly, and when they are full 
They belch us. — Look you, Cassio and my husband ! 

Enter Cassio and Iago 

/ago. There is no other way ; 't is she must do 't. — 
And, lo, the happiness ! go, and importune her. 

Desdemona. How now, good Cassio ! what 's the 
news with you ? 

Cassio. Madam, my former suit. I do beseech you 
That by your virtuous means I may again no 

Exist, and be a member of his love 
Whom I with all the office of my heart 
Entirely honour ; I would not be delay'd. 
If my offence be of such mortal kind 
That nor my service past nor present sorrows 
Nor purpos'd merit in futurity 



106 Othello [Act in 

Can ransom me into his love again, 

But to know so must be my benefit, 

So shall I clothe me in a forc'd content, 

And shut myself up in some other course 120 

To fortune's alms. 

Desdemona. Alas, thrice-gentle Cassio ! 

My advocation is not now in tune ; 
My lord is not my lord, nor should I know him, 
Were he in favour as in humour alter'd. 
So help me every spirit sanctified, 
As I have spoken for you all my best 
And stood within the blank of his displeasure 
For my free speech ! You must awhile be patient. 
What I can do I will, and more I will 
Than for myself I dare ; let that suffice you. 130 

Iago. Is my lord angry ? 

Emilia. He went hence but now, 

And certainly in strange unquietness. 

Iago. Can he be angry ? I have seen the cannon, 
When it hath blown his ranks into the air, 
And, like the devil, from his very arm 
Puff'd his own brother ; — and can he be angry? 
Something of moment then. I will go meet him ; 
There 's matter in 't indeed, if he be angry. 

Desdemona. I prithee, do so. — [Exit Iago. 

Something, sure, of state, 
Either from Venice or some unhatch'd practice 140 

Made demonstrable here in Cyprus to him, 
Hath puddled his clear spirit ; and in such cases 



Scene IV] Othello 107 

Men's natures wrangle with inferior things, 

Though great ones are their object. 'T is even so ; 

For let our finger ache, and it indues 

Our other healthful members even to that sense 

Of pain. Nay, we must think men are not gods, 

Nor of them look for such observancy 

As fits the bridal. Beshrew me much, Emilia, 

I was, unhandsome warrior as I am, 150 

Arraigning his unkindness with my soul ; 

But now I find I had suborn 'd the witness, 

And he 's indicted falsely. 

Emilia, Pray heaven it be state matters, as you 
think, 
And no conception nor no jealous toy 
Concerning you. 

Desdernona. Alas the day ! I never gave him cause. 

Emilia. But jealous souls will not be answer'd so. 
They are not ever jealous for the cause, 
But jealous for they are jealous ; 't is a monster 160 

Begot upon itself, born on itself. 

Desdernona. Heaven keep that monster from Othel- 
lo's mind ! 

Emilia. Lady, amen. 

Desdernona. I will go seek him. — Cassio, walk here- 
about ; 
If I do find him fit, I '11 move your suit 
And seek to effect it to my uttermost. 

Cassio. I humbly thank your ladyship. 

\Exeunt Desdernona and Emilia. 



io8 Othello [Act in 



Enter Bianca 

Bianca. Save you, friend Cassio ! 

Cassio. What make you from home ? 

How is it with you, my most fair Bianca ? 
I' faith, sweet love, I was coming to your house. 170 

Bianca. And I was going to your lodging, Cassio. 
What, keep a week away ? seven days and nights ? 
Eight score eight hours ? and lovers' absent hours, 
More tedious than the dial eight score times ? 

weary reckoning 1 

Cassio. Pardon me, Bianca ; 

1 have this while with leaden thoughts been press'd, 
But I shall in a more continuate time 

Strike off this score of absence. Sweet Bianca, 

[Giving her Desdeniona's handkerchief. 
Take me this work out. 

Bianca. O Cassio, whence came this ? 

This is some token from a newer friend ; 180 

To the felt absence now I feel a cause. 
Is 't come to this ? Well, well. 

Cassio. Go to, woman 1 

Throw your vile guesses in the deviPs teeth, 
From whence you have them. You are jealous now 
That this is from some mistress, some remembrance ; 
No, in good troth, Bianca. 

Bianca. Why, whose is it ? 

Cassio. I know not, sweet ; I found it in my chamber. 
I like the work well ; ere it be demanded — 



Scene IV] Othello 1 09 

As like enough it will — I 'd have it copied. 

Take it, and do 't ; and leave me for this time. 190 

Bianca. Leave you ! wherefore ? 

Cassio. I do attend here on the general, 
And think it no addition, nor my wish, 
To have him see me woman'd. 

Bianca. Why, I pray you ? 

Cassio. Not that I love you not. 

Bianca. But that you do not love me. 

I pray you bring me on the way a little, 
And say if I shall see you soon at night. 

Cassio, 'T is but a little way that I can bring you, 
For I attend here ; but I '11 see you soon. 

Bianca. 'T is very good; I must be circumstanc'd. 200 

[Exeunt. 




Piazza of the Mosque, Famagusta 



ACT IV 



Scene I. Cyprus. Before the Castle 



Enter Othello and Iago 

/ago. Will you think so ? 

Othello. Think so, Iago ! 

Iago. What, 

To kiss in private? 

Othello. An unauthoriz'd kiss. 

It is hypocrisy against the devil; 
They that mean virtuously and yet do so, 
The devil their virtue tempts, and they tempt heaven. 

Iago. So they do nothing, 't is p venial slip; 
But if I give my wife a handkerchief, — 

no 






Scene I] Othello 1 1 1 

Othello. What then? 

/ago. Why, then, 't is hers, my lord ; and, being hers, 
She may, I think, bestow 't on any man. 10 

Othello. She is protectress of her honour too ; 
May she give that? 

/ago. Her honour is an essence that 's not seen ; 
They have it very oft that have it not. 
But, for the handkerchief, — 

Othello. By heaven, I would most gladly have forgot it. 
Thou said'st — O, it comes o'er my memory, 
As doth the raven o'er the infected house, 
Boding to all — he had my handkerchief. 

/ago. Ay, what of that? 

Othello. That 's not so good now. 

/ago. What, 

If I had said I had seen him do you wrong? 21 

Or heard him say, — as knaves be such abroad. 
Who having, by their own importunate suit, 
Or voluntary dotage of some mistress, 
Convinced or supplied them, cannot choose 
But they must blab — 

Othello. Hath he said any thing? 

/ago. He hath, my lord ; but be you well assur'd, 
No more than he'll unswear. 

Othello. What hath he said? 

/ago. Faith, that he did — I know not what he did. 

Othello. W T hat ? what ? — Handkerchief — confes- 30 
sions — handkerchief! — To confess, and be hanged 
for his labour • — first, to be hanged, and then to con- 



1 1 2 Othello [Act iv 

fess. — I tremble at it. Nature would not invest her- 
self in such shadowing passion without some instruction. 
It is not words that shake me thus. Pish ! Noses, 
ears, and lips. — Is 't possible? — Confess — handker- 
chief ! — O devil ! \_Falls in a trance. 

Iago. Work on, 
My medicine, work ! Thus credulous fools are caught ; 
And many worthy and chaste dames even thus, 40 

All guiltless, meet reproach. — What, ho ! my lord ! 
My lord, I say ! Othello ! — 

Enter Cassio 

How now, Cassio ! 

Cassio. What 's the matter ? 

Iago. My lord is fallen into an epilepsy. 
This is his second fit ; he had one yesterday. 

Cassio. Rub him about the temples. 

Iago. No, forbear ; 

The lethargy must have his quiet course. 
If not, he foams at mouth, and by and by 
Breaks out to savage madness. Look, he stirs. 
Do you withdraw yourself a little while, 50 

He will recover straight ; when he is gone, 
I would on great occasion speak with you. — 

[Exit Cassio. 
How is it, general? have you not hurt your head? 

Othello. Dost thou mock me ? 

Iago. I mock you ! no, by heaven. 

Would you would bear your fortune like a man ! 



Scene I] Othello 1 13 

Othello. A horned man 's a monster and a beast. 

/ago. There 's many a beast then in a populous 
city, 
And many a civil monster. 

Othello. Did he confess it? 

/ago. Good sir, be a man ; 

Think every bearded fellow that 's but yok'd 60 

May draw with you. There 's millions now alive 
That nightly lie in those unproper beds 
Which they dare swear peculiar ; your case is better. 
O, 't is the spite of hell, the fiend's arch-mock, 
To lip a wanton in a secure couch, 
And to suppose her chaste ! No, let me know ; 
And knowing what I am, I know what she shall be. 

Othello. O, thou art wise ; 't is certain. 

/ago. Stand you awhile apart. 

Confine yourself but in a patient list. 
Whilst you were here o'erwhelmed with your grief — 70 
A passion most unsuiting such a man — 
Cassio came hither. I shifted him away, 
And laid good 'scuse upon your ecstasy, 
Bade him anon return and here speak with me ; 
The which he promis'd. Do but encave yourself, 
And mark the fleers, the gibes, and notable scorns, 
That dwell in every region of his face ; 
For I will make him tell the tale anew, 
Where, how, how oft, how long ago, and when 
He hath, and is again to cope your wife. 80 

I say, but mark his gesture. Marry, patience ; 

OTHELLO — 8 



H4 Othello ■ [Act iv 

Or I shall say you are all in all in spleen, 
And nothing of a man. 

Othello, Dost thou hear, Iago ? 

I will be found most cunning in my patience ; 
But — dost thou hear? — most bloody. 

Iago. That 's not amiss ; 

But yet keep time in all. Will you withdraw ? — 

\_Othello retires. 
Now will I question Cassio of Bianca, 
A housewife that by selling her desires 
Buys herself bread and clothes. It is a creature 
That dotes on Cassio ; as 't is the strumpet's plague 90 
To beguile many and be beguil'd by one. 
He, when he hears of her, cannot refrain 
From the excess of laughter. — Here he comes. — 

Re-enter Cassio 

As he shall smile, Othello shall go mad ; 

And his unbookish jealousy must construe 

Poor Cassio's smiles, gestures, and light behaviour, 

Quite in the wrong. — How do you now, lieutenant ? 

Cassio. The worser that you give me the addition 
Whose want even kills me. 

Iago. Ply Desdemona well, and you are sure on 't. 100 
Now, if this suit lay in Bianca's power, 
How quickly should you speed ! 

Cassio. Alas, poor caitiff ! 

Othello. Look, how he laughs already ! 

Iago. I never knew woman love man so. 



Scene I] Othello 115 

Cassio. Alas, poor rogue ! I think, i' faith, she loves 
me. 

Othello, Now he denies it faintly, and laughs it out. 

Iago. Do you hear, Cassio ? 

Othello. Now he importunes him 

To tell it o'er. Go to ; well said, well said. 

Iago. She gives it out that you shall marry her ; 
Do you intend it? no 

Cassio. Ha, ha, ha ! 

Othello. Do you triumph, Roman? do you triumph? 

Cassio. I marry her ! what? a customer ! Prithee, 
bear some charity to my wit ; do not think it so un- 
wholesome. Ha, ha, ha ! 

Othello. So, so, so, so ; they laugh that win. 

Iago. Faith, the cry goes that you shall marry her. 

Cassio. Prithee, say true. 

Iago. I am a very villain else. 

Othello. Have you scored me? Well. 120 

Cassio. This is the monkey's own giving-out ; she 
is persuaded I will marry her, out of her own love and 
flattery, not out of my promise. 

Othello. Iago beckons me; now he begins the story. 

Cassio. She was here even now; she haunts me in 
every place. I was the other day talking on the sea- 
bank with certain Venetians ; and thither comes the 
bauble, and, by this hand, she falls me thus about my 
neck — 

Othello. Crying ' O dear Cassio ! ' as it were ; his 130 
gesture imports it. 



n6 Othello [Act iv 

Cassia. So hangs, and lolls, and weeps upon me; so 
hales and pulls me. Ha, ha, ha ! 

Othella. Now he tells how she plucked him to my 
chamber. — O, I see that nose of yours, but not that 
dog I shall throw it to. 

Cassia. Well, I must leave her company. 

laga. Before me ! look, where she comes. 

Cassia. 'T is such another fitchew ! marry, a per- 
fumed one. — 140 
Enter Bianca 

What do you mean by this haunting of me? 

Bianca. Let the devil and his dam haunt you ! 
What did you mean by that same handkerchief you 
gave me even now? I was a fine fool to take it. I 
must take out the work? — A likely piece of work, 
that you should find it in your chamber, and not know 
who left it there ! This is some minx's token, and I 
must take out the work? There, give it your hobby- 
horse ; wheresoever you had it, I '11 take out no work 
on 't. 150 

Cassia. How now, my sweet Bianca ! how now ! 
how now ! 

Othella. By heaven, that should be my handkerchief ! 

Bianca. An you '11 come to supper to-night, you 
may ; an you will not, come when you are next pre- 
pared for. \_Exit. 

laga. After her, after her. 

Cassia. Faith, I must ; she '11 rail in the street else. 

laga. Will you sup there ? 



Scene I] Othello 117 

Cassio. Faith, I intend so. 160 

/ago. Weil, I may chance to see you ; for I would 
very fain speak with you. 

Cassio. Prithee, come ; will you? 

/ago. Go to ; say no more. \_Exit Cassio. 

Othello. \_Advancing~] How shall I murther him, Iago ? 

la-go. Did you perceive how he laughed at his vice? 

Othello. O Iago ! 

Iago. And did you see the handkerchief ? 

Othello. Was that mine ? 

Iago. Yours, by this hand ; and to see how he 170 
prizes the foolish woman your wife ! she gave it him, 
and he hath given it his whore. 

Othello. I would have him nine years a-killing. — 
A fine woman ! a fair woman ! a sweet woman ! 

Iago. Nay, you must forget that. 

Othello. Ay, let her rot, and perish, and be damned 
to-night ; for she shall not live. No, my heart is turned 
to stone ; I strike it, and it hurts my hand. — O, the 
world hath not a sweeter creature ; she might lie by an 
emperor's side and command him tasks. 180 

Iago. Nay, that 's not your way. 

Othello. Hang her ! I do but say what she is ; so 
delicate with her needle ! an admirable musician ! O ! 
she will sing the savageness out of a bear ! of so high 
and plenteous wit and invention ! — 

Iago. She 's the worse for all this. 

Othello. O, a thousand thousand times ; — and then, 
of so gentle a condition ! 



n8 Othello [Act IV 

/ago. Ay, too gentle. 

Othello. Nay, that *s certain ; — but yet the pity of 
it, Iago ! O Iago, the pity of it, Iago ! 191 

/ago. If you are so fond over her iniquity, give her 
patent to offend ; for, if it touch not you, it comes 
near nobody. 

Othello. I will chop her into messes ! cuckold me ! 

/ago. O, 't is foul in her. 

Othello. With mine officer ! 

/ago. That 's fouler. 

Othello. Get me some poison, Iago, this night, — 
I '11 not expostulate with her, lest her body and beauty 
unprovide my mind again, — this night, Iago. 201 

/ago. Do it not with poison ; strangle her in her 
bed, even the bed she hath contaminated. 

Othello. Good, good ! the justice of it pleases ; very 
good ! 

/ago. And for Cassio, let me be his undertaker; 
you shall hear more by midnight. 

Othello. Excellent good ! — \_A trumpet within'] 
What trumpet is that same? 

/ago. Something from Venice, sure. — T is Lodovico 210 
Come from the duke ; and, see, your wife is with him. 

Enter Lodovico, Desdemona, and Attendants 

/odovico. Save you, worthy general ! 
Othello. With all my heart, sir. 

Lodovico. The duke and senators of Venice greet you. 

[Gives him a letter. 



Scene ij Othello 119 

Othello. I kiss the instrument of their pleasures. 

[ Opens the letter, and reads. 

Desdemona. And what 's the news, good cousin Lo- 
dovico ? 

/ago. I am very glad to see you, signior ; 
Welcome to Cyprus. 

Lodovico. I thank you. How does Lieutenant Cassio ? 

/ago. Lives, sir. 

Desdemona. Cousin, there 's fallen between him and 
my lord 220 

An unkind breach ; but you shall make all well. 

Othello. Are you sure of that? 

Desde?nona. My lord? 

Othello. \_Reads~\ 'This fail you not to do, as you 
will— ' 

Lodovico. He did not call ; he 's busy in the paper. 
Is there division 'twixt my lord and Cassio? 

Desdemona. A most unhappy one ; I would do much 
To atone them, for the love I bear to Cassio. 

Othello. Fire and brimstone ! 

Desdemona. My lord? 

Othello. Are you wise ? 

Desdemona. What, is he angry? 

Lodovico. May be the letter mov'd him ; 230 

For, as I think, they do command him home, 
Deputing Cassio in his government. 

Desdemona. Trust me, I am glad on 't. 

Othello. Indeed ! 

Desdemona. My lord ? 



120 Othello [Act iv 

Othello. I am glad to see you mad. 

Desdemona. Why, sweet Othello, — 

Othello. \_Striking her] Devil ! 

Desdemoiia. I have not deserv'd this. 

Lodovico. My lord, this would not be believ'd in Venice, 
Though I should swear I saw 't ; 't is very much. 
Make her amends ; she weeps. 

Othello. O devil, devil ! 

If that the earth could teem with woman's tears, 240 

Each drop she falls would prove a crocodile. — 
Out of my sight ! 

Desdemona. I will not stay to offend you. [ Going. 

Lodovico. Truly, an obedient lady ; 
I do beseech your lordship, call her back. 

Othello. Mistress ! 

Desdemona. My lord ? 

Othello. What would you with her, sir ? 

Lodovico. Who, I, my lord ? 

Othello. Ay ; you did wish that I would make her turn. 
Sir, she can turn and turn, and yet go on, 
And turn again ; and she can weep, sir, weep ; 
And she 's obedient, as you say, obedient, 250 

Very obedient. — Proceed you in your tears. — 
Concerning this, sir, — O well-painted passion ! — 
I am commanded home. — Get you away; 
I '11 send for you anon. — Sir, I obey the mandate, 
And will return to Venice. — Hence, avaunt ! — 

[Exit Desdemona. 
Cassio shall have my place. And, sir, to-night, 



Scene I] Othello 121 

I do entreat that we may sup together ; 
You are welcome, sir, to Cyprus. — Goats and mon- 
keys ! {Exit. 

Lodovico. Is this the noble Moor whom our full senate 
Call all in all sufficient? Is this the nature 260 

Whom passion could not shake ? whose solid virtue 
The shot of accident nor dart of chance 
Could neither graze nor pierce ? 

Lago. He is much chang'd. 

Lodovico. Are his wits safe? is he not light of brain? 

lago. He 's that he is; I may not breathe my 
censure. 
What he might be — if what he might he is not — 
I would to heaven he were ! 

Lodovico. What, strike his wife ! 

lago. Faith, that was not so well ; yet would I knew 
That stroke would prove the worst ! 

Lodovico. Is it his use? 

Or did the letters work upon his blood, 270 

And new-create this fault? 

Lago. Alas, alas ! 

It is not honesty in me to speak 
What I have seen and known. You shall observe 

him, 
And his own courses will denote him so 
That I may save my speech ; do but go after, 
And mark how he continues. 

Lodovico. I am sorry that I am deceiv'd in him. 

{Exeunt. 



122 Othello [Act iv 

Scene II. A Room in the Castle 

Enter Othello and Emilia 

Othello, You have seen nothing then ? 

Emilia, Nor ever heard, nor ever did suspect. 

Othello, Yes, you have seen Cassio and she together. 

Emilia, But then I saw no harm, and then I heard 
Each syllable that breath made up between them. 

Othello, What, did they never whisper ? 

Emilia, Never, my lord. 

Othello, Nor send you out o' the way ? 

Emilia, Never. 

Othello, To fetch her fan, her gloves, her mask, nor 
nothing ? 

Emilia, Never, my lord. 10 

Othello, That 's strange. 

Emilia, I durst, my lord, to wager she is honest, 
Lay down my soul at stake ; if you think other, 
Remove your thought, it doth abuse your bosom. 
If any wretch have put this in your head, 
Let heaven requite it with the serpent's curse ! 
For, if she be not honest, chaste, and true, 
There 's no man happy ; the purest of their wives 
Is foul as slander. 

Othello. Bid her come hither ; go. — 

[Exit Emilia. 
She says enough ; yet she 's a simple bawd 20 

That cannot say as much. This is a subtle whore, 



Scene II] Othello 123 

A closet lock and key of villanous secrets ; 

And yet she '11 kneel and pray, I have seen her do 't. 

Enter Desdemona with Emilia 

Desdemona. My lord, what is your will ? 

Othello. Pray, chuck, come hither. 

Desdemona. What is your pleasure ? 

Othello. Let me see your eyes ; 

Look in my face. 

Desdemona. What horrible fancy 's this ? 

Othello. \_To Emilia'] Some of your function, mis- 
tress ; shut the door ; 
Cough, or cry hem, if any body come. 
Your mystery, your mystery ; nay, dispatch. 

[Exit Emilia. 

Desdemona. Upon my knees, what doth your speech 
import ? 30 

I understand a fury in your words, 
But not the words. 

Othello. Why, what art thou ? 

Desdemona. Your wife, my lord ; your true 

And loyal wife. 

Othello. Come, swear it, damn thyself ; 

Lest, being like one of heaven, the devils themselves 
Should fear to seize thee. Therefore be double damn'd ; 
Swear thou art honest. 

Desdemona. Heaven doth truly know it. 

Othello. Heaven truly knows that thou art false as 
hell. 



124 Othello [Act iv 

Desdemona. To whom, my lord ? with whom ? how 
am I false ? 

Othello. O Desdemona ! away ! away ! away ! 40 

Desdemona. Alas the heavy day ! Why do you weep ? 
Am I the motive of these tears, my lord ? 
If haply you my father do suspect 
An instrument of this your calling back, 
Lay not your blame on me ; if you have lost him, 
Why, I have lost him too. 

Othello. Had it pleas'd heaven 

To try me with affliction, had they rain'd 
All kinds of sores and shames on my bare head, 
Steep'd me in poverty to the very lips, 
Given to captivity me and my utmost hopes, 50 

I should have found in some place of my soul 
A drop of patience ; but, alas, to make me 
A fixed figure for the time of scorn 
To point his slow unmoving finger at ! 
Yet could I bear that too, well, very well ; 
But there, where I have garner'd up my heart, 
Where either I must live or bear no life, 
The fountain from the which my current runs 
Or else dries up, — to be discarded thence ! 
Or keep it as a cistern for foul toads 60 

To knot and genderJn ! — Turn thy complexion there, 
Patience, thou young and rose-lipp'd cherubin, — 
Ay, there, look grim as hell 1 

Desdemona. I hope my noble lord esteems me honest. 

Othello. O, ay ; as summer flies are in the shambles, 



Scene II] Othello 1 25 

That quicken even with blowing. O thou weed, 
Who art so lovely fair and smell'st so sweet 
That the sense aches at thee, would thou hadst ne'er 
been born ! 

Desdemona. Alas, what ignorant sin have I committed ? 

Othello. Was this fair paper, this most goodly book, 70 
Made to write whore upon ? What committed 1 
Committed ! O thou public commoner ! 
I should make very forges of my cheeks, 
That would to cinders burn up modesty, 
Did I but speak thy deeds. What committed ! 
Heaven stops the nose at it and the moon winks ; 
The bawdy wind that kisses all it meets 
Is hush'd within the hollow mine of earth, 
And will not hear it. What committed ! 
Impudent strumpet ! 

Desdemona. By heaven, you do me wrong. 80 

Othello. Are not you a strumpet ? 

Desdemona. No, as I am a Christian ; 

If to preserve this vessel for my lord 
From any other foul unlawful touch 
Be not to be a strumpet, I am none. 

Othello. What, not a whore ? 

Desdemona. No, as I shall be sav'd. 

Othello. Is 't possible ? 

Desdemona. O, heaven forgive us ! 

Othello. I cry you mercy, then, 

I took you for that cunning whore of Venice 
That married with Othello. — You, mistress, 



126 Othello [Act iv 

That have the office opposite to Saint Peter, 9 o 

And keep the gate of hell ! 

Enter Emilia 

You, you, ay, you ! 
We have done our course ; there 's money for your pains. 
I pray you, turn the key and keep our counsel. [Exit. 

Emilia. Alas, what does this gentleman conceive ? 
How do you, madam ? how do you, my good lady ? 

Desdemona. Faith, half asleep. 

Emilia. Good madam, what 's the matter with my 
lord? 

Desdemona. With who ? 

Emilia. Why, with my lord, madam. 99 

Desdemona. Who is thy lord ? 

Emilia. He that is yours, sweet lady. 

Desdemona. I have none. Do not talk to me, Emilia ; 
I cannot weep, nor answer have I none 
But what should go by water. Prithee, to-night 
Lay on my bed my wedding sheets. Remember ; 
And call thy husband hither. 

Emilia. Here's a change indeed ! [Exit. 

Desdemona. 'T is meet I should be us'd so, very meet. 
How have I been behav'd, that he might stick 
The smalPst opinion on my least -misuse ? 

Re-enter Emilia with Iago 

Iago. What is your pleasure, madam ? How is 't 
with you? 



Scene ii] Othello 127 

Desdemona. I cannot tell. Those that do teach 
young babes no 

Do it with gentle means and easy tasks. 
He might have chid me so ; for, in good faith, 
I am a child to chiding. 

/ago. What 's the matter, lady ? 

Emilia. Alas, Iago, my lord hath so bewhor'd her, 
Thrown such despite and heavy terms upon her, 
As true hearts cannot bear. 

Desdemona. Am I that name, Iago ? 

Iago. What name, fair lady ? 

Desdemona. Such as she says my lord did say I was. 

Emilia. He calPd her whore ; a beggar in his drink 
Could not have laid such terms upon his callat. 120 

Iago. Why did he so ? 

Desdemona. I do not know; I am sure I am none 
such. 

Iago. Do not weep, do not weep. Alas the day ! 

Emilia. Hath she forsook so many noble matches, 
Her father and her country and her friends, 
To be calPd whore ? would it not make one weep ? 

Desdemona. It is my wretched fortune. 

Iago. Beshrew him for 't ! 

How comes this trick upon him ? 

Desdemona. Nay, heaven doth know. 

Emilia. I will be hang'd, if some eternal villain, 
Some busy and insinuating rogue, 130 

Some cogging, cozening slave, to get some office, 
Have not devis'd this slander ; I '11 be hang'd else. 



128 Othello [Act iv 

Iago. Fie, there is no such man ; it is impossible. 
Desdemona. If any such there be, heaven pardon 

him ! 
Emilia, A halter pardon him ! and hell gnaw his 
bones ! 
Why should he call her whore ? who keeps her company ? 
What place ? what time ? what form ? what likelihood ? 
The Moor 's abus'd by some most villanous knave, 
Some base notorious knave, some scurvy fellow. ■ — 

heaven, that such companions thou 'dst unfold, 140 
And put in every honest hand a whip 

To lash the rascals naked through the world 
Even from the east to the west ! 

Iago. Speak within door. 

Emilia. O, fie upon them ! Some such squire he was 
That turn'd your wit the seamy side without, 
And made you to suspect me with the Moor. 

Iago. You are a fool ; go to. 

Desdemona. O good Iago, 

What shall I do to win my lord again ? 
Good friend, go to him ; for, by this light of heaven, 

1 know not how I lost him. Here I kneel : 150 
If e'er my will did trespass 'gainst his love, 

Either in discourse of thought or actual deed, 

Or that mine eyes, mine ears, or any sense, 

Delighted them in any other form, 

Or that I do not yet, and ever did, 

And ever will — though he do shake me off 

To beggarly divorcement — love him dearly, 



Scene II] Othello 129 

Comfort forswear me 1 Unkindness may do much ; 

And his unkindness may defeat my life, 

But never taint my love. I cannot say whore — 160 

It doth abhor me now I speak the word ; 

To do the act that might the addition earn 

Not the world's mass of vanity could make me. 

lago. I pray you, be content ; 't is but his humour. 
The business of the state does him offence, 
And he does chide with you. 

Desdemona. If 't were no other, — 

lago. 'T is but so, I warrant. 

\Trumpets within. 
Hark, how these instruments summon to supper ! 
The messengers of Venice stay the meat. 
Go in, and weep not ; all things shall be well. — 170 
\Exeunt Desdemona and Emilia. 

Enter Roderigo 

How now, Roderigo ! 

Roderigo. I do not find that thou dealest justly with 
me. 

Iago. What in the contrary ? 

Roderigo. Every day thou daffest me with some 
device, Iago ; and rather, as it seems to me now, 
keepest from me all conveniency than suppliest me 
with the least advantage of hope. I will indeed no 
longer endure it, nor am I yet persuaded to put up 
in peace what already I have foolishly suffered. 

Iago. Will you hear me, Roderigo ? 180 

OTHELLO — 9 



130 Othello [Act iv 

Roderigo. Faith, I have heard too much, for your 
words and performances are no kin together. 

Iago. You charge me most unjustly. 

Roderigo. With nought but truth. I have wasted my- 
self out of my means. The jewels you have had from 
me to deliver to Desdemona would half have cor- 
rupted a votarist ; you have told me she hath 
received them, and returned me expectations and 
comforts of sudden respect and acquaintance, but I 
find none. 190 

Iago. Well ; go to ; very well. 

Roderigo. Very well ! go to ! I cannot go to, man, 
nor 't is not very well ; nay, I think it is scurvy, and 
begin to find myself fobbed in it. 

Iago. Very well. 

Roderigo. I tell you 't is not very well. I will 
make myself known to Desdemona. If she will return 
me my jewels, I will give over my suit and repent 
my unlawful solicitation ; if not, assure yourself I 
will seek satisfaction of you. 200 

Iago. You have said now. 

Roderigo. Ay, and said nothing but what I pro- 
test intendment of doing. 

Iago. Why, now I see there 's mettle in thee, and 
even from this instant do build on thee a better 
opinion than ever before. Give me thy hand, 
Roderigo ; thou hast taken against me a most just 
exception, but yet, I protest, I have dealt most 
directly in thy affair. 



Scene ii] Othello 131 

Roderigo. It hath not appeared. 210 

Iago. I grant indeed it hath not appeared, and 
your suspicion is not without wit and judgment. But, 
Roderigo, if thou hast that in thee indeed, which I 
have greater reason to believe now than ever, I mean 
purpose, courage and valour, this night show it ; if 
thou the next night following enjoy not Desdemona, 
take me from this world with treachery and devise 
engines for my life. 

Roderigo. Well, what is it ? is it within reason and 
compass ? 220 

Iago. Sir, there is especial commission come from 
Venice to depute Cassio in Othello's place. 

Roderigo. Is that true ? why, then Othello and 
Desdemona return again to Venice. 

Iago. O, no ! He goes into Mauritania and takes 
away with him the fair Desdemona, unless his abode 
be lingered here by some accident ; wherein none 
can be so determinate as the removing of Cassio. 

Roderigo. How do you mean, removing of him ? 

Iago. Why, by making him uncapable of Othello's 
place ; knocking out his brains. 231 

Roderigo. And that you would have me to do ? 

Iago. Ay, if you dare do yourself a profit and a 
right. He sups to-night with a harlotry, and thither 
will I go to him ; he knows not yet of his honourable 
fortune. If you will watch his going thence, which I 
will fashion to fall out between twelve and one, you 
may take him at your pleasure ; I will be near to 



132 Othello [Act iv 

second your attempt, and he shall fall between us. 
Come, stand not amazed at it, but go along with me ; 240 
I will show you such a necessity in his death that 
you shall think yourself bound to put it on him. 
It is now high supper-time, and the night grows to 
waste ; about it ! 

Roderigo. I will hear further reason for this. 

Lago. And you shall be satisfied. [Exeunt. 



&■ 



Scene III. Another Room in the Castle 



Enter Othello, Lodovico, Desdemona, Emilia, and 
Attendants 

Lodovico. I do beseech you, sir, trouble yourself no 

further. 
Othello. O, pardon me ; 't will do me good to walk. 
Lodovico. Madam, good night ; I humbly thank your 

ladyship. 
Desdemona. Your honor is most welcome. 
Othello. Will you walk, sir ? 

O, — Desdemona, — 
Desdemona. My lord ? 

Othello. Get you to bed on the instant ; I will be 
returned forthwith. Dismiss your attendant there ; 
look it be done. 

Desdemona. I will, my lord. 10 

[Exeunt Othello, Lodovico, and Attendants. 
Emilia. How goes it now ? he looks gentler than he 
did. 



Scene III] Othello 1 33 

Desdemona. He says he will return incontinent ; 
He hath commanded me to go to bed, 
And bade me to dismiss you. 

Emilia. Dismiss me ! 

Desdemona. It was his bidding ; therefore, good 
Emilia, 
Give me my nightly wearing, and adieu. 
We must not now displease him. 

Emilia. I would you had never seen him ! 

Desdemona. So would not I ; my love doth so approve 
him 
That even his stubbornness, his checks, his frowns, — 20 
Prithee, unpin me, — have grace and favour in them. 

Emilia. I have laid those sheets you bade me on 
the bed. 

Desdemona. All 's one. — Good faith, how foolish are 
our minds ! — 
If I do die before thee, prithee, shroud me 
In one of those same sheets. 

Emilia. Come, come, you talk. 

Desdemona. My mother had a maid call'd Barbara ; 
She was in love, and he she lov'd prov'd mad 
And did forsake her. She had a song of ' willow ; ' 
An old thing 't was, but it express'd her fortune, 
And she died singing it. That song to-night 30 

Will not go from my mind ; I have much to do 
But to go hang my head all at one side, 
And sing it like poor Barbara. — Prithee, dispatch. 

Emilia. Shall I go fetch your nightgown ? 



134 Othello [Act iv 

Desdemona. No, unpin me here. 

This Lodovico is a proper man. 
Emilia. A very handsome man. 
Desdemona. He speaks well. 

Emilia. I know a lady in Venice would have 
walked barefoot to Palestine for a touch of his 
nether lip. 40 

Desdemona. [Singing] The poor soul sat sighing by a 
sycamore tree, 
Sing all a green willow ; 
Her hand on her bosom, her head on her knee, 

Sing willow, willow, willow ; 
The fresh streams ran by her, and murmur* d her moans, 

Sing willow, willow, willow ; 
Her salt tears fell from her, and softened the stones, — 
Lay by these. — 

[Singing] Sing willow, willow, willow; 
Prithee, hie thee ; he '11 come anon. — 50 

[Singing] Sing all a green willow must be my garland. • 

Let nobody blame him ; his scorn I approve, — 
Nay, that 's not next — Hark ! who is 't that knocks ? 
Emilia. It 's the wind. 

Desdemona. [Singing] / calVd my love false love ; 
but what said he then ? 
Sing willow, willow, willow ; 
If I court moe women, you '11 couch with moe men. — 
So, get thee gone ; good night. Mine eyes do itch ; 
Doth that bode weeping ? 

Emilia. 'T is neither here nor there. 



Scene III] Othello 135 

Desdemona. I have heard it said so. — O, these men, 
these men ! — 60 

Dost thou in conscience think, — tell me, Emilia, — 
That there be women do abuse their husbands 
In such gross kind ? 

Emilia. There be some such, no question. 

Desdemo?ia. Wouldst thou do such a deed for all the 

world ? 
Emilia. Why, would not you ? 

Desdemona. No, by this heavenly light !c 

Emilia. Nor I neither by this heavenly light ; 
I might do 't as well i' the dark. 

Desdemona. Wouldst thou do such a deed for all the 

world ? 
Emilia. The world 's a huge thing ; it is a great 
price 
For a small vice. 

Desdemona. In troth, I think thou wouldst not. 70 
Emilia. In troth, I think I should ; and undo 't 
when I had done. Marry, I would not do such a 
thing for a joint-ring, nor for measures of lawn, nor 
for gowns, petticoats, nor caps, nor any petty exhibi- 
tion ; but, for the whole world, — why, who would 
not make her husband a cuckold to make him a 
monarch ? I should venture purgatory for 't. 

Desdemona. Beshrew me, if I would do such a 
wrong 
For the whole world. 

Emilia. Why, the wrong is but a wrong i' the 80 



136 Othello [Act iv 

world ; and having the world for your labour, 't is a 
wrong in your own world, and you might quickly make 
it right. 

Desdemona. I do not think there is any such woman. 

Emilia. Yes, a dozen ; and as many to the vantage 
As would store the world they played for. 
But I do think it is their husbands' faults 
If wives do fall. Say that they slack their duties, 
And pour out treasures into foreign laps, 
Or else break out in peevish jealousies, 90 

Throwing restraint upon us ; or say they strike us, 
Or scant our former having in despite ; 
Why, we have galls, and though we have some grace, 
Yet have we some revenge. Let husbands know 
Their wives have sense like them ; they see and smell 
And have their palates both for sweet and sour, 
As husbands have. What is it that they do 
When they change us for others ? Is it sport ? 
I think it is ; and doth affection breed it ? 
I think it doth ; is 't frailty that thus errs ? 100 

It is so too ; and have not we affections, 
Desires for sport, and frailty, as men have ? 
Then let them use us well ; else let them know, 
The ills we do, their ills instruct us so. 

Desdemona, Good night, good night ; heaven me such 
uses send, 
Not to pick bad from bad, but by bad mend ! [Exeunt 




Famagusta from the Sea 



ACT V 



Scene I. Cyprus. A Street 



Enter Iago and Roderigo 

/ago. Here, stand behind this bulk ; straight will he 
come. 
Wear thy good rapier bare, and put it home. 
Quick, quick ; fear nothing, I '11 be at thy elbow. 
It makes us, or it mars us ; think on that, 
And fix most firm thy resolution. 

Roderigo. Be near at hand; I may miscarry in 't. 
Iago. Here, at thy hand ; be bold, and take thy 
stand. {Retires. 

Roderigo. I have no great devotion to the deed, 
And yet he hath given me satisfying reasons ; 
'T is but a man gone. Forth, my sword ; he dies. 10 

137 



138 Othello [Act v 

/ago. I have rubb'd this young quat almost to the 
sense, 
And he grows angry. Now, whether he kill Cassio, 
Or Cassio him, or each do kill the other, 
Every way makes my game, Live Roderigo, 
He calls me to a restitution large 
Of gold and jewels that I bobb'd from him 
As gifts to Desdemona ; 
It must not be. If Cassio do remain, 
He hath a daily beauty in his life 

That makes me ugly ; and, besides, the Moor 20 

May unfold me to him ; there stand I in much peril. 
No, he must die. — But so ; I hear him coming. 

Enter Cassio 

Roderigo, I know his gait, 't is he. — Villain, thou 
diest ! \_Makes a pass at Cassio. 

Cassio. That thrust had been mine enemy indeed, 
But that my coat is better than thou know'st ; 
I will make proof of thine. 

[Draws and wounds Roderigo. 
Roderigo. O, I am slain ! 

[fago front behind wou?ids Cassio in the /eg, and exit. 
Cassio. I am maim'd for ever. Help, ho ! murther ! 
murther ! [Falls. 

Enter Othello 

Othello. The voice of Cassio ; Iago keeps his word. 

Roderigo. O, villain that I am ! 

Othello. It is even so. 



Scene I] Othello 1 39 

Cassio. O, help, ho ! light ! a surgeon ! 30 

Othello. 'T is he. — O brave Iago, honest and just, 

That hast such noble sense of thy friend's wrong ! 

Thou teachest me. — Minion, your dear lies dead, 

And your unblest fate hies ; strumpet, I come i 

Forth of my heart those charms, thine eyes, are blotted ; 

Thy bed lust-stain 'd shall with lust's blood be spotted. 

[Exit. 
Enter Lodovico and Gratiano 

Cassio. What, ho ! no watch ? no passage ? murther ! 
murther ! 

Gratiano. 'T is some mischance ; the cry is very 
direful. 

Cassio. O, help ! 

Lodovico. Hark ! 40 

Roderigo. O wretched villain ! 

Lodovico. Two or three groan ; it is a heavy night ; 
These may be counterfeits ; let 's think 't unsafe 
To come in to the cry without more help. 

Roderigo. Nobody come ? then shall I bleed to death. 

Lodovico. Hark ! 

Re-enter Iago, with a light 

Gratiano. Here 's one comes in his shirt, with light 

and weapons. 
Iago. Who 's there ? whose noise is this that cries on 

murther ? 
Lodovico, We do not know. 
Iago. Did not you hear a cry ? 49 



140 Othello [Act V 

Cassio. Here, here I for heaven's sake, help me ! 

lago. What 's the matter ? 

Gratiano. This is Othello's ancient, as I take it. 

Lodovico. The same indeed ; a very valiant fellow. 

Iago. What are you here that cry so grievously ? 

Cassio. Iago ? O, I am spoil'd, undone by villains ! 
Give me some help. 

Iago. O me, lieutenant ! what villains have done 
this ? 

Cassio. I think that one of them is hereabout, 
And cannot make away. 

Iago. O treacherous villains ! — 

What are you there ? come in, and give some help. 

[To Lodovico and Gratiano. 

Roderigo. O, help me here 1 60 

Cassio. That 's one of them. 

Iago. O murtherous slave ! O villain ! 

[Stabs Roderigo. 

Roderigo. O damn'd Iago I O inhuman dog ! 

Iago. Kill men i' the dark ! — Where be these bloody 
thieves ? — 
How silent is this town ! — Ho ! murther ! murther ! — 
What may you be ? are you of good or evil ? 

Lodovico. As you shall prove us, praise us. 

Iago. Signior Lodovico ? 

Lodovico. He, sir. 

Iago. I cry you mercy. Here 's Cassio hurt by vil- 
lains. 

Gratiano. Cassio ! 7° 



Scene I] Othello 141 

Iago. How is 't, brother ? 
Cassio. My leg is cut in two. 

Iago. Marry, heaven forbid ! 

Light, gentlemen ; I '11 bind it with my shirt. 

Enter Bianca 

Bianca. What is the matter, ho ? who is 'tthat cried ? 

Iago. Who is 't that cried ! 

Bianca. O my dear Cassio ! my sweet Cassio ! O 
Cassio, Cassio, Cassio ! 

Iago. O notable strumpet 1 — Cassio, may you sus- 
pect 
Who they should be that have thus mangled you ? 

Cassio. No. 80 

Gratiano. I am sorry to find you thus ; I have been 
to seek you. 

Iago. Lend me a garter. — So. — O, for a chair, 
To bear him easily hence ! 

Bianca. Alas, he faints ! O Cassio, Cassio, Cassio ! 

Iago. Gentlemen all, I do suspect this trash 
To be a party in this injury. — 
Patience awhile, good Cassio. — Come, come ; 
1 Lend me a light. — Know we this face or no ? 
Alas, my friend and my dear countryman 
Roderigo ! no ; — yes, sure ; O heaven ! Roderigo. 90 

Gratiano. What, of Venice ? 

Iago. Even he, sir ; did you know him ? 

Gratiano. Know him ! ay. 

Iago. Signior Gratiano ? I cry you gentle pardon ; 



142 Othello [Act v 

These bloody accidents must excuse my manners, 
That so neglected you. 

Gratiano. I am glad to see you. 

/ago. How do you, Cassio ? — O, a chair, a chair ! 

Gratiano. Roderigo ! 

/ago. He, he, 't is he. — [A chair brought in.] O, 
that 's well said ; the chair. 
Some good man bear him carefully from hence ; 
I '11 fetch the general's surgeon. — [To Bianca] For 
you, mistress, 100 

Save you your labour. — He that lies slain here, Cassio, 
Was my dear friend ; what malice was between you ? 

Cassio. None in the world ; nor do I know the man. 

/ago. [To Bianca] What, look you pale? — O, bear 
him out o' the air. — 

[Cassio and Roderigo are borne off. 
Stay you, good gentlemen. — Look you pale, mistress ? — 
Do you perceive the gastness of her eye ? — 
Nay, if you stare, we shall hear more anon. — 
Behold her well ; I pray you, look upon her. 
Do you see, gentlemen ? nay, guiltiness will speak, 
Though tongues were out of use. no 

Enter Emilia 

Emilia. Alas, what 's the matter ? what 's the matter, 
husband ? 

/ago. Cassio hath here been set on in the dark 
By Roderigo and fellows that are scap'd ; 
He 's almost slain, and Roderigo dead. 



Scene II] Othello 143 

Emilia. Alas, good gentleman ! alas, good Cassio 1 

Iago. This is the fruit of whoring. — Prithee, Emilia, 
Go know of Cassio where he supp'd to-night. — 
What, do you shake at that ? 

Bianca. He supp'd at my house ; but I therefore 
shake not. 

Iago. O, did he so ? I charge you, go with me. 120 

Emilia. Fie, fie upon thee, strumpet ! 

Bianca. I am no strumpet ; but of life as honest 
As you that thus abuse me. 

Emilia. As I ! foh ! fie upon thee ! 

Iago. Kind gentlemen, let 's go see poor Cassio 
dress'd. — 
Come, mistress, you must tell 's another tale. — 
Emilia, run you to the citadel, 
And tell my lord and lady what hath happ'd. — 
Will you go on, I pray? — [Aside] This is the night 
That either makes me or fordoes me quite. [Exeunt. 

Scene II. A Bedchamber in the Castle; Desdemona 
in bed asleep ; a light burning 

Enter Othello 

Othello. It is the cause, it is the cause, my soul, — 
Let me not name it to you, you chaste stars ! — 
It is the cause. Yet I '11 not shed her blood, 
Nor scar that w r hiter skin of hers than snow, 
And smooth as monumental alabaster. 
Yet she must die, else she '11 betray more men. 



144 Othello [Act V 

Put out the light, and then — put out the light ! 

If I quench thee, thou flaming minister, 

I can again thy former light restore, 

Should I repent me ; but once put out thy light, 10 

Thou cunning'st pattern of excelling nature, 

I know not where is that Promethean heat 

That can thy light relume. When I have pluck'd the 

rose, 
I cannot give it vital growth again, 
It must needs wither ; I '11 smell it on the tree. 

[Kissing her. 
Ah, balmy breath, that dost almost persuade 
Justice to break her sword ! One more, one more. 
Be thus when thou art dead, and I will kill thee, 
And love thee after. One more, and this the last ; 
So sweet was ne'er so fatal. I must weep, 20 

But they are cruel tears ; this sorrow 's heavenly, 
It strikes where it doth love. She wakes. 

Desdemona. Who 's there ? Othello ? 

Othello. Ay, Desdemona. 

Desdemona. Will you come to bed, my lord ? 

Othello. Have you pray'd to-night, Desdemona ? 

Desdemona. Ay, my lord. 

Othello. If you bethink yourself of any crime 
Unreconcil'd as yet to heaven and grace, 
Solicit for it straight. 

Desdemona. Alas, my lord, what do you mean by 
that? 

Othello. Well, do it, and be brief ; I will walk by. 30 



Scene ii] Othello 145 

I would not kill thy unprepared spirit. 

No ; heaven forfend ! I would not kill thy soul. 

Desdemona. Talk you of killing ? 

Othello. Ay, I do. 

Desdemona. Then heaven 

Have mercy on me ! 

Othello. Amen, with all my heart ! 

Desdemona. If you say so, I hope you will not kill me. 

Othello. Hum ! 

Desdemona. And yet I fear you ; for you are fatal 
then 
When your eyes roll so. Why I should fear I know not, 
Since guiltiness I know not, but yet I feel I fear. 

Othello. Think on thy sins. 

Desdemona. They are loves I bear to you. 

Othello. Ay, and for that thou diest. 41 

Desdemona. That death 's unnatural that kills for 
loving. 
Alas, why gnaw you so your nether lip ? 
Some bloody passion shakes your very frame. 
These are portents ; but yet I hope, I hope, 
They do not point on me. 

Othello. Peace, and be still ! 

Desdemona. I will so. What 's the matter ? 

Othello. That handkerchief which I so lov'd and 
gave thee 
Thou gav'st to Cassio. 

Desdemona. No, by my life and soul ! 

Send for the man, and ask him. 

OTHELLO — 10 



146 Othello [Act v 

Othello. Sweet soul, take heed, 50 

Take heed of perjury ; thou art on thy death-bed. 

Desdemona. Ay, but not yet to die. 

Othello. Yes, presently ; 

Therefore confess thee freely of thy sin, 
For to deny each article with oath 
Cannot remove nor choke the strong conception 
That I do groan withal. Thou art to die. 

Desdemona. Then Lord have mercy on me ! 

Othello. I say, amen. 

Desdemona. And have you mercy too -1 I never did 
Offend you in my life ; never lov'd Cassio 
But with such general warranty of heaven 60 

As I might love ; I never gave him token. 

Othello. By heaven, I saw my handkerchief in 's 
hand. 

perjur'd woman ! thou dost stone my heart, 
And mak'st me call what I intend to do 

A murther, which I thought a sacrifice. 

1 saw the handkerchief. 

Desdemona. He found it then ; 

I never gave it him. Send for him hither ; 
Let him confess a truth. 

Othello. He hath confess'd. 

Desdemona. What, my lord ? 69 

Othello. That he hath us'd thee. 

Desdemo7ta. How ? unlawfully ? 

Othello. Ay. 

Desdemona. He will not say so. 



Scene II] Othello 147 

Othello. No, his mouth is stopp'd ; 

Honest Iago hath ta'en order for 't. 

Desdemona. O ! my fear interprets ; what, is he 

dead? 
Othello. Had all his hairs been lives, my great revenge 
Had stomach for them all. 

Desdemona. Alas ! he is betray'd, and I undone. 
Othello. Out, strumpet ! weep'st thou for him to my 

face ? 
Desdemona. O, banish me, my lord, but kill me not I 
Othello. Down, strumpet ! 

Desdemona. Kill me to-morrow ; let me live to-night ! 80 
Othello. Nay, if you strive, — 
Desdemona. But half an hour ! 

Othello. Being done, there is no pause. 

Desdemona. But while I say one prayer ! 
Othello. It is too late. 

[He stifles her. 
Emilia. [ Within] My lord, my lord ! what, ho ! my 

lord, my lord ! 
Othello. What noise is this ? — Not dead ? not yet 
quite dead ? 
I that am cruel am yet merciful ; 
I would not have thee linger in thy pain. — 
So, so. 

Emilia. [ Withhi] What, ho ! my lord, my lord ! 
Othello. Who 's there ? 

Emilia. [Within] O, good my lord, I would speak a 
word with you ! 89 



148 Othello [Act v 

Othello. Yes ; — 't is Emilia. — By and by. — She 's 
dead. — 
'T is like she comes to speak of Cassio's death. — 
The noise was here. — Ha ! no more moving ? 
Still as the grave. — Shall she come in ? were 't good ? — 
I think she stirs again ; — no. What 's best to do ? 
If she come in, she ; 11 sure speak to my wife. — 
My wife ! my wife ! what wife ? I have no wife. 
O, insupportable ! O heavy hour ! 
Methinks it should be now a huge eclipse 
Of sun and moon, and that the affrighted globe 
Should yawn at alteration. 

Emilia. [ Within] I do beseech you 

That I may speak with you, O, good my lord ! 101 

Othello. I had forgot thee. O, come in, Emilia. — 
Soft ; by and by. — Let me the curtains draw. — 
Where art thou ? [ Unlocks the door. 

Enter Emilia 

What 's the matter with thee now ? 

Emilia. O, my good lord, yonder 's foul murther done 1 

Othello. What, now ? 

Emilia. But now, my lord. 

Othello. It is the very error of the moon ; 
She comes more nearer earth than she was wont, 
And makes men mad. no 

Emilia. Cassio, my lord, hath kill'd a young Venetian 
Call'd Roderigo. 

Othello. Roderigo kill'd 1 

And Cassio kill'd ! 



Scene II] Othello 1 49 

Emilia. No, Cassio is not kill'd. 

Othello. Not Cassio kill'd ! then murther 's out of 
tune, 
And sweet revenge grows harsh. 

Desdet?iona. O, falsely, falsely murther'd ! 

Emilia. Alas, what cry is that ? 

Othello. That! what? 

Emilia. Out, and alas ! that was my lady's voice. — 
Help ! help, ho ! help ! — O lady, speak again ! 
Sweet Desdemona ! O sweet mistress, speak ! 120 

Desde?nona. A guiltless death I die. 

Emilia. O, who hath done this deed ? 

Desdemona. Nobody ; I myself. Farewell ! 
Commend me to my kind lord ; O, farewell ! [Dies. 

Othello. Why, how should she be murther'd ? 

Emilia. Alas, who knows ? 

Othello. You heard her say herself, it was not I. 

Emilia. She said so ; I must needs report the truth. 

Othello. She 's like a liar gone to burning hell ; 
'T was I that kill'd her. 

Emilia. O, the more angel she, 

And you the blacker devil ! 130 

Othello. She turn'd to folly, and she was a whore. 

Emilia. Thou dost belie her, and thou art a devil. 

Othello. She was false as water. 

Emilia. Thou art rash as fire, to say 

That she was false ; O, she was heavenly true ! 

Othello. O, I were damn'd beneath all depth in 
hell, 






150 Othello [Act V 

But that I did proceed upon just grounds 
To this extremity. Thy husband knew it all. 

Emilia, My husband ! 

Othello. Thy husband. 

Emilia. That she was false to wedlock ? 140 

. Othello. Ay, with Cassio. Nay, had she been true, 
If heaven would make me such another world 
Of one entire and perfect chrysolite, 
I'd not have sold her for it. 

Emilia. My husband ! 

Othello. Ay, 't was he that told me first ; 

An honest man he is, and hates the slime 
That sticks on filthy deeds. 

Emilia. My husband ! 

Othello. What needs this iterance, woman ? I say 
thy husband. 

Emilia. O mistress, villany hath made mocks with 
love ! — 
My husband say that she was false ! 

Othello. . He, woman ; 150 

I say thy husband : dost understand the word ? 
My friend, thy husband, honest, honest Iago. 

Emilia. If he say so, may his pernicious soul 
Rot half a grain a day ! he lies to the heart ; 
She was too fond of her most filthy bargain. 

Othello. Ha! 

Emilia. Do thy worst ; 
This deed of thine is no more worthy heaven 
Than thou wast worthy her. 



Scene II] Othello 151 

Othello. Peace, you were best ! 

Emilia. Thou hast not half that power to do me harm 
As I have to be hurt. O gull ! O dolt ! 161 

As ignorant as dirt ! thou hast done a deed — 
I care not for thy sword ; I '11 make thee known, 
Though I lost twenty lives. — Help ! help, ho ! help ! 
The Moor hath kilPd my mistress ! Murther ! murther ! 

Enter Montano, Gratiano, Iago, and others. 

Montano. What is the matter ? — How now, general ! 

Emilia. O, are you come, Iago? you have done well, 
That men must lay their murthers on your neck. 

Gratiano. What is the matter ? 

Emilia. Disprove this villain, if thou be'st a man ; 170 
He says thou told'st him that his wife was false. 
I know thou didst not, thou 'rt not such a villain ; 
Speak, for my heart is full. 

Iago. I told him what I thought, and told no more 
Than what he found himself w r as apt and true. 

Emilia. But did you ever tell him she was false ? 

Iago. I did. 

Emilia. You told a lie, an odious, damned lie ; 
Upon my soul, a lie, a wicked lie 1 
She false with Cassio ! — did you say with Cassio ? 180 

Iago. With Cassio, mistress. Go to, charm your 
tongue. 

Emilia. I will not charm my tongue ; I am bound to 
speak : 
My mistress here lies murther'd in her bed, — 



152 Othello [Act v 

All. O heavens forfend ! 

Emilia. And your reports have set the murther on. 
Othello. Nay, stare not, masters ; it is true, indeed. 
Gratiano. 'T is a strange truth. 
Montano. O monstrous act ! 

Emilia. Villany, villany, villany ! 

y I think upon 't, I think, — I smell 't — O villany ! — 
I thought so then ! — I '11 kill myself for grief. — 190 

villany, villany -I 

/ago. What, are you mad ? I charge you, get you 
home. 

Emilia. Good gentlemen, let me have leave to speak ; 
'T is proper I obey him, but not now. — 
Perchance, Iago, I will ne'er go home. 

Othello. O ! O I O ! {He falls on the bed. 

Emilia. Nay, lay thee down and roar ; 

For thou hast kill'd the sweetest innocent 
That e'er did lift up eye. 

Othello. [Rising] O, she was foul ! — 

1 scarce did know you, uncle ; there lies your niece, 
Whose breath, indeed, these hands have newly stopp'd. 
I know this act shows horrible and grim. 201 

Gratiano. Poor Desdemona ! I am glad thy father 's 
dead. 
Thy match was mortal to him, and pure grief 
Shore his old thread in twain ; did he live now, 
This sight would make him do a desperate turn, 
Yea, curse his better angel from his side 
And fall to reprobance. 



Scene II] Othello 153 

Othello, 'T is pitiful ; but yet Iago knows 
That she with Cassio hath the act of shame 
A thousand times committed ; Cassio confess'd it; 210 
And she did gratify his amorous works 
With that recognizance and pledge of love 
Which I first gave her. I saw it in his hand ; 
It was a handkerchief, an antique token 
My father gave my mother. 

Emilia. O heaven ! O heavenly powers I 

Iago, Come, hold your peace. 

Emilia, 'T will out, \ will out ! — I peace ! 

No, I will speak as liberal as the north ; 
Let heaven and men and devils, let them all, 
All, all, cry shame against me, yet I 11 speak. 220 

Iago. Be wise, and get you home. 

Ei?iilia, I will not. 

[Iago offers to stab Emilia. 

Gratiano, Fie ! 

Your sword upon a woman ? 

Emilia, O thou dull Moor ! that handkerchief thou 
speak'st of 
I found by fortune and did give my husband ; 
For often, with a solemn earnestness, 
More than indeed belong'd to such a trifle, 
He begg'd of me to steal it. 

Iago, Villanous whore ! 

Emilia, She give it Cassio ! no, alas ! I found it, 
And I did give 't my husband. 

Iago, Filth, thou liest ! 229 



is 



1 54 Othello [Act v 

Emilia. By heaven, I do not, I do not, gentlemen. 
O murtherous coxcomb ! what should such a fool 
Do with so good a wife ? 

Othello. Are there no stones in heaven 

But what serve for the thunder ? — Precious villain ! 

\He runs at Iago ; Iago from behind 
stabs Emilia, and exit. 

Gratiano. The woman falls ; sure, he hath kill'd his 
wife. 

Emilia. Ay, ay. O, lay me by my mistress' side. 

Gratiano. He 's gone, but his wife 's kill'd. 

Moiitano. 'T is a notorious villain. Take you this 
weapon 
Which I have here recover'd from the Moor. 
Come, guard the door without ; let him not pass, 
But kill him rather. I '11 after that same villain, 240 
For 't is a damned slave. 

[Exeunt Montano and Gratiano. 

Othello. I am not valiant neither, 

But every puny whipster gets my sword. 
But why should honour outlive honesty ? 
Let it go all. 

Emilia. What did thy song bode, lady ? 

Hark, canst thou hear me ? I will play the swan, 
And die in music. [Singing] Willow, willow, willow. — 
Moor, she was chaste ; she loved thee, cruel Moor ; 
So come my soul to bliss, as I speak true ! 
So speaking — as I think — I die — I die. [Dies. 

Othello. I have another weapon in this chamber ; 250 



Scene II] Othello 155 

It is a sword of Spain, the ice-brook's temper. — 
O, here it is. — Uncle, I must come forth. 

Gratiano. \_Within\ If thou attempt it, it will cost 
thee dear ; 
Thou hast no weapon, and perforce must suffer. 

Othello. Look in upon me then, and speak with me, 
Or, naked as I am, I will assault thee. 

Re-enter Gratiano 

Gratiano, What is the matter ? 

Othello. Behold, I have a weapon ; 

A better never did itself sustain 
Upon a soldier's thigh. I have seen the day 
That with this little arm and this good sword 260 

I have made my way through more impediments 
Than twenty times your stop. — But, O vain boast ! 
Who can control his fate ? 't is not so now. — 
Be not afraid, though you do see me weapon 'd ; 
Here is my journey's end, here is my butt, 
And very sea-mark of my utmost sail. 
Do you go back dismay'd ? 't is a lost fear ; 
Man but a rush against Othello's breast, 
And he retires. — Where should Othello go ? 
Now, how dost thou look now ? O ill-starr'd wench ! 270 
Pale as thy smock ! when we shall meet at compt, 
This look of thine will hurl my soul from heaven, 
And fiends will snatch at it. Cold, cold, my girl ! 
Even like thy chastity. — 
O, cursed, cursed slave ! — 



156 Othello [Act v 

Whip me, ye devils, 

From the possession of this heavenly sight I 

Blow me about in winds ! roast me in sulphur 1 

Wash me in steep-down gulfs of liquid fire 1 

O Desdemona ! Desdemona ! dead ! 280 

Oh! Oh! Oh! 

Enter Lodovico, Montano, Cassio carried in a chair, 
and Officers with Iago, prisoner 

Lodovico, Where is this rash and most unfortunate 
man ? 

Othello. That 's he that was Othello ; here I am. 

Lodovico. Where is that viper ? bring the villain forth. 

Othello. I look down towards his feet ; but that 's a 
fable. 
If that thou be'st a devil, I cannot kill thee. 

[ Wounds Iago. 

Lodovico. Wrench his sword from him. 

Iago. I bleed, sir, but not kill'd. 

Othello. I am not sorry neither ; I 'd have thee live, 
For, in my sense, 't is happiness to die. 

Lodovico. O thou Othello, that wert once so good, 
Fallen in the practice of a damned slave, 291 

What shall be said to thee ? 

Othello. Why, any thing ; 

An honourable murtherer, if you will, 
For naught I did in hate, but all in honour. 

Lodovico. This wretch hath part confess 'd his villany. 
Did you and he consent in Cassio's death ? 



IScene II] Othello 157 

Othello. Ay. 

Cassio. Dear general, I never gave you cause. 

Othello. I do believe it, and I ask your pardon. 
Will you, I pray, demand that demi-devil 300 

Why he hath thus ensnar'd my soul and body ? 

/ago. Demand me nothing : what you know, you know ; 
From this time forth I never will speak word. 

Lodovico. What, not to pray ? 

Gratiano. Torments will ope your lips. 

Othello. Well, thou dost best. 

Lodovico. Sir, you shall understand what hath be- 
fallen, 
Which, as I think, you know not. Here is a letter 
I Found in the pocket of the slain Roderigo, 
And here another ; the one of them imports 
The death of Cassio to be undertook 310 

By Roderigo. 

Othello. O villain ! 

Cassio. Most heathenish and most gross ! 

Lodovico. Now here 's another discontented paper, 
Found in his pocket too ; and this, it seems, 
Roderigo meant to have sent this damned villain, 
But that, belike, Iago in the interim 
Came in and satisfied him. 

Othello. O the pernicious caitiff I — 

How came you, Cassio, by that handkerchief 
That was my wife's ? 

Cassio. I found it in my chamber ; 

And he himself confess'd but even now 320 



158 Othello [Act v 

That there he dropt it for a special purpose 
Which wrought to his desire. . 

Othello. O fool ! fool ! fool ! 

Cassio. There is besides in Roderigo's letter, 
How he upbraids Iago that he made him 
Brave me upon the watch, whereon it came 
That I was cast ; and even but now he spake, 
After long seeming dead, Iago hurt him, 
Iago set him on. 

Lodovico. You must forsake this room, and go with 
us ; 

Your power and your command is taken off, 330 

And Cassio rules in Cyprus. For this slave, 
If there be any cunning cruelty 
That can torment him much and hold him long, 
It shall be his. You shall close prisoner rest 
Till that the nature of your fault be known 
To the Venetian state. — Come, bring him away. 

Othello. Soft you ; a word or two before you go. 
I have done the state some service, and they know 't. 
No more of that. — I pray you, in your letters, 
When you shall these unlucky deeds relate, 340 

Speak of me as I am ; nothing extenuate, 
Nor set down aught in malice ; then must you speak 
-Of one that lov'd not wisely but too well ; 
Of one not easily jealous, but being wrought 
Perplex'd in the extreme ; of one whose hand, 
Like the base Indian, threw a pearl away 
Richer than all his tribe ; of one whose subdued eyes, 



yliPcene II] Othello 159 

Albeit unused to the melting mood, 
Drop tears as fast as the Arabian trees 
Their medicinable gum. Set you down this ; 350 

iiAnd say besides, that in Aleppo once, 
Where a malignant and a turban'd Turk 
.Beat a Venetian and traduc'd the state, 
I took by the throat the circumcised dog, 
And smote him — thus. [Stabs himself. 

Lodovico. O bloody period ! 

Gratiano. All that 's spoke is marr'd. 

Othello. I kiss'd thee ere I kilPd thee ; — no way but 
this, 
Killing myself, to die upon a kiss. [Falls on the bed, 

and dies. 

Cassio. This did I fear, but thought he had no 
weapon ; 
For he was great of heart. 

Lodovico. [To fago~] O Spartan dog, 360 

More fell than anguish, hunger, or the sea ! 
Look on the tragic loading of this bed ; 
This is thy work. The object poisons sight ; 
Let it be hid. — Gratiano, keep the house, 
And seize upon the fortunes of the Moor, 
For they succeed on you. — To you, lord governor, 
Remains the censure of this hellish villain, 
The time, the place, the torture ; O, enforce it ! 
Myself will straight aboard, and to the state 369 

This heavy act with heavy heart relate. [Exeunt. 



NOTES 



OTHELLO — II l6l 




NOTES 



Introduction 



The Metre of the Play. — It should be understood at the 
outset that metre, or the mechanism of verse, is something alto- 
gether distinct from the music of verse. The one is matter of rule, 
the other of taste and feeling. Music is not an absolute necessity 
of verse; the metrical form is a necessity, being that which consti- 
tutes the verse. 

The plays of Shakespeare (with the exception of rhymed pas- 
sages, and of occasional songs and interludes) are all in unrhymed 
or blank verse ; and the normal form of this blank verse is illus- 
trated by the third line of the present play : " As if the strings were 
thine, shouldst know of this." 

This line, it will be seen, consists of ten syllables, with the even 
syllables (2d, 4th, 6th, 8th, and 10th) accented, the odd syllables 
(1st, 3d, etc.) being unaccented. Theoretically, it is made up of 

163 



1 64 Notes 

five feet of two syllables each, with the accent on the second sylla- 
ble. Such a foot is called an iambus (plural, iambuses, or the Latin 
iambi), and the form of verse is called iambic. 

This fundamental law of Shakespeare's verse is subject to certain 
modifications, the most important of which are as follows : — 

1.. After the tenth syllable an unaccented syllable (or even two 
such syllables) may be added, forming what is sometimes called a 
female line; as in the fifth line of the first scene: "If ever I did 
dream of such a matter." The rhythm is complete with the first 
syllable of matter, the second being an extra eleventh syllable. In 
line 12, we have two extra syllables, the rhythm being complete 
with the first syllable of purposes, 

2. The accent in any part of the verse may be shifted from an 
even to an odd syllable ; as in line 14: " Horribly stuff'd with epi- 
thets of war"; where the accent is shifted from the second to the 
first syllable. See also lines 44, 45, 49, 66, 68, 71, etc., in the same 
scene. This change occurs very rarely in the tenth syllable, and 
seldom in the fourth; and it is not allowable in two successive 
accented syllables. 

3. An extra unaccented syllable may occur in any part of the 
line ; as in lines 9, 1 1, and 35. In 9 the second syllable of personal 
is superfluous ; in 1 1 the word am ; and in 35 the second syllable 
of remedy. Line 35 has also the unaccented final syllable in service, 
making it a female line. 

4. Any unaccented syllable, occurring in an even place immedi- 
ately before or after an even syllable which is properly accented, is 
reckoned as accented for the purposes of the verse ; as, for instance, 
in lines 13 and 14. In 13 the last syllable of circumstance is metri- 
cally equivalent to an accented syllable ; and so with the last syllable 
of epithet in 14. Other examples are the third syllables of Cassio 
and Florentine in 20, and of Roderigo in 56, which is a female line. 

5. In many instances in Shakespeare words must be lengthened 
in order to fill out the rhythm : — 

(a) In a large class of words in which e or i is followed by 



Notes 165 



another vowel, the e or i is made a separate syllable; as ocean, 
opinion, soldier, patience, partial, marriage, etc. For instance, 
line 19 of the first scene of the present play appears to have only 
nine syllables, but arithmetician has metrically six syllables. In ii. 
3. 357 ("How poor are they that have not patience "), patience is 
a trisyllable. This lengthening occurs most frequently at the end 
of the line; but in ii. 3. 134 ("It were an honest action to say"), 
action is a trisyllable. 

(J?) Many monosyllables ending in r, re, rs, res, preceded by a 
long vowel or diphthong, are often made dissyllables ; as fare, fear, 
dear, fire, hair, hour, your, etc. In M. of V. iii. 2. 297: "Shall 
lose a hair through Bassanio's fault," hair is a dissyllable. If the 
word is repeated in a verse it is often both monosyllable and dis- 
syllable; as in y. C. iii. I. 172: "As fire drives out fire, so pity, 
pity," where the first fire is a dissyllable, the other being a mono- 
syllable. 

{c) Words containing / or r, preceded by another consonant, are 
often pronounced as if a vowel came between the consonants ; as in 
ii. 3. 205 : " 'T is monstrous [monst(e)rous]. Iago, who began 't? " 
So in T. of S. ii. I. 158: "While she did call me rascal fiddler" 
[fidd(e)ler]; All 's Well, iii. 5. 43: "If you will tarry, holy pil- 
grim" [pilg(e)rim]; C. of E. v. 1.360: "These are the parents 
of these children " (childeren, the original form of the word) ; W. 
T. iv. 4. 76 : "Grace and remembrance [rememb(e) ranee] be to you 
both!" etc. 

(d) Monosyllabic exclamations {ay, O, yea, nay, hail, etc.) and 
monosyllables otherwise emphasized are similarly lengthened ; also 
certain longer words ; as commandement in M. of V. iv. I. 442 ; 
safety (trisyllable) in Ham. i. 3. 21 ; business (trisyllable, as origi- 
nally pronounced) in J. C. iv. I. 22: "To groan and sweat under 
the business" (so in several other passages); and other words 
mentioned in the notes to the plays in which they occur. 

6. Words are also contracted for metrical reasons, like plurals 
and possessives ending in a sibilant, as balance, horse (for horses 



1 66 Notes 

and horse's), princess, sense, marriage (plural and possessive), image, 
etc. So medicinable (pronounced medUinable) in v. 2. 350 (see 
note on the passage), and many other words in the plays. 

7. The accent of words is also varied in many instances for met- 
rical reasons. Thus we find both revenue and revenue in the first 
scene of the M. N. D. (lines 6 and 158), dbscure and obscure, pur- 
sue and pursue, confine (see note on i. 2. 27) and cdnfine, etc. 

These instances of variable accent must not be confounded with 
those in which words were uniformly accented differently in the 
time of Shakespeare; like dntique (see on v. 2. 214), unauthdr- 
iz'd (see on iv. 1.2), impdrtune, per sever (never persevere), perse- 
verance, rheumatic, etc. 

8. Alexandrines, or verses of twelve syllables, with six accents, 
occur here and there; as in i. 1. 26 (with a female ending also), 
48, 159, i. 2. 71, etc., in this play. They must not be confounded 
with female lines with two extra syllables (see on 1 above) or with 
other lines in which two extra unaccented syllables may occur. 

9. Incomplete verses, of one or more syllables, are scattered 
through the plays. See i. 1. 6, 15, 18, 41, 73, etc., in this play. 

10. Doggerel measure is used in the very earliest comedies (Z. Z. 
Z. and C. of E. in particular) in the mouths of comic characters, 
but nowhere else in those plays, and never anywhere after 1597 
or 1598. Of course it is not found in Othello. 

11. Rhyme occurs frequently in the early plays, but diminishes 
with comparative regularity from that period until the latest. Thus, 
in Z. Z. Z. there are about 1100 rhyming verses (about one-third 
of the whole number), in the M. N. D. about 900, in Richard IL 
and R. and J. about 500 each, while in Cor. and A. and C. there are 
only about 40 each, in the Temp, only two, and in the W. T. none 
at all, except in the chorus introducing act iv. Songs, interludes, 
and other matter not in ten-syllable measure are not included in this 
enumeration. In the present play, out of some 2450 ten-syllable 
verses only about eighty are in rhyme. 

Alternate rhymes are found only in the plays written before 1599 



Notes 167 

or 1600 ; as in Z. Z. Z., T. G. of V., and C. of E. In the M. of V. 
there are only four lines at the end of iii. 2. In Much Ado and 
As You Like It, we also find a few lines, but none at all in subsequent 
plays. 

Rhymed couplets r, or "rhyme-tags" are often found at the end of 
scenes ; as in the second scene, and six other scenes, of the present 
play. In Hamlet, 14 out of 20 scenes, and in Macbeth, 21 out of 28, 
have such "tags"; but in the latest plays they are not so frequent. 
The Tempest, for instance, has but one, and the Winter } s Tale none. 

12. In this edition of Shakespeare, the final -ed of past tenses 
and participles is printed -d when the word is to be pronounced in 
the ordinary way; as in stuff d, line 14, and affin\i, line 39, of the 
first scene. But when the metre requires that the -ed be made a 
separate syllable, the e is retained; as in raised, line 148, of the 
first scene, where the word is a dissyllable. The only variation 
from this rule is in verbs like cry, die, etc., the -ed of which is very 
rarely, if ever, made a separate syllable. 

Shakespeare's Use of Verse and Prose in the Plays. — 
This is a subject to which the critics have given very little atten- 
tion, but it is an interesting study. In the present play we find 
scenes entirely in verse or in prose (only ii. 2), and others in which 
the two are mixed. In general, we may say that verse is used for 
what is distinctly poetical, and prose for what is not poetical. The 
distinction, however, is not so clearly marked in the earlier as in the 
later plays. The second scene of the M. of V., for instance, is in prose, 
because Portia and Nerissa are talking about the suitors in a familiar 
and playful way; but in the T. G. of V., where Julia and Lucetta 
are discussing the suitors of the former in much the same fashion, 
the scene is in verse. Dowden, commenting on Rich. II, remarks : 
" Had Shakespeare written the play a few years later, we may be 
certain that the gardener and his servants (iii. 4) would not have 
uttered stately speeches in verse, but would have spoken homely 
prose, and that humour would have mingled with the pathos of the 
scene. The same remark may be made with reference to the sub- 



1 68 Notes 

sequent scene (v. 5) in which his groom visits the dethroned king 
in the Tower." Comic characters and those in low life generally 
speak in prose in the later plays, as Dowden intimates, but in the 
very earliest ones doggerel verse is much used instead. See on 10 
above. 

The change from prose to verse is well illustrated in the third 
scene of the M, of V, It begins with plain prosaic talk about a 
business matter; but when Antonio enters, it rises at once to the 
higher level of poetry. The sight of Antonio reminds Shylock of 
his hatred of the Merchant, and the passion expresses itself in verse, 
the vernacular tongue of poetry. We have a similar change in 
the first scene of /. C, where, after the quibbling " chaff " of the 
mechanics about their trades, the mention of Pompey reminds the 
Tribune of their plebeian fickleness, and his scorn and indignation 
flame out in most eloquent verse. See also the change to verse in 
the closing speech of i. 3 in the present play; also at the end of 
ii. 1, and in several other of Iago's soliloquies. 

The reasons for the choice of prose or verse are not always so 
clear as in these instances. We are seldom puzzled to explain the 
prose, but not unfrequently we meet with verse where we might 
expect prose. As Professor Corson remarks {Introduction to Shake- 
speare, 1889), "Shakespeare adopted verse>as the general tenor of 
his language, and therefore expressed much in verse that is within 
the capabilities of prose; in other words, his verse constantly en- 
croaches upon the domain of prose, but his prose can never be said 
to encroach upon the domain of verse." If in rare instances we 
think we find exceptions to this latter statement, and prose actually 
seems to usurp the place of verse, I believe that careful study of 
the passage will prove the supposed exception to be apparent rather 
than real. 

Some Books for Teachers and Students. — A few out of 
the many books that might be commended to the teacher and the 
critical student are the following : Halliwell-Phillipps's Outlines of 
the Life of Shakespeare (7th ed. 1887) ; Sidney Lee's Life of Shake- 



Notes 169 

spear e (1898; for ordinary students the abridged ed. of 1899 is 
preferable); Schmidt's Shakespeare Lexicon (3d ed. 1902); Little- 
dale's ed. of Dyce's Glossary (1902); Bartlett's Concordance to 
Shakespeare (1895); Abbott's Shakespearian Gram?nar (1873); 
Furness's "New Variorum" ed. of Othello (1886, encyclopaedic and 
exhaustive); Dowden's Shakspere : His Mind and Art (Ameri- 
can ed. 1881); Hudson's Life, Art, and Characters of Shakespeare 
(revised ed. 1882); Mrs. Jameson's Characteristics of Women 
(several eds., some with the title, Shakespeare Heroines) ; Ten 
Brink's Five Lectures on Shakespeare (1895); Boas's Shakespeare 
and His Predecessors (1895); Dyer's Folk-lore of Shakespeare 
(American ed. 1884); Gervinus's Shakespeare Co??imentaries (Bun- 
nett's translation, 1875); Wordsworth's Shakespeare's Knowledge 
of the Bible (3d ed. 1880); Elson's Shakespeare in Music (1901). 

Some of the above books will be useful to all readers who are 
interested in special subjects or in general criticism of Shakespeare. 
Among those which are better suited to the needs of ordinary 
readers and students, the following may be mentioned: Mabie's 
Willia?n Shakespeare : Poet, Dramatist, and Man (1900); Phin's 
Cyclopedia and Glossary of Shakespeare (1902; more compact and 
cheaper than Dyce) ; Dowden's Shakspere Primer (1877; small 
but invaluable); Rolfe's Shakespeare the Boy (1896; treating of 
the home and school life, the games and sports, the manners, 
customs, and folk-lore of the poet's time); Guerber's Myths of 
Greece and Rome (for young students who may need information 
on mythological allusions not explained in the notes). 

Black's Judith Shakespeare (1884; a novel, but a careful study 
of the scene and the time) is a book that I always commend to 
young people, and their elders will also enjoy it. The Lambs' 
Tales from Shakespeare is a classic for beginners in the study of 
the dramatist ; and in Rolfe's ed. the plan of the authors is carried 
out in the Notes by copious illustrative quotations from the plays. 
Mrs. Cowden-Clarke's Girlhood of Shakespeare 's Heroines (sev- 
eral eds.) will particularly interest girls ; and both girls and boys 



170 Notes [Act 1 

will find Bennett's Master Skylark (1897) an d Imogen Clark's 
Will Shakespeare 1 s Little Lad (1897) equally entertaining and 
instructive. 

H. Snowden Ward's Shakespeare 1 s Town and Times (1896) and 
John Leyland's Shakespeare Country (1900) are copiously illus- 
trated books (yet inexpensive) which may be particularly com- 
mended for school libraries. 

Abbreviations in the Notes. — The abbreviations of the 
names of Shakespeare's plays will be readily understood ; as 
T. N. for Twelfth Night, Cor. for Coriolanus, 3 Hen. VL. for 
The Third Part of King Henry the Sixth, etc. P. P. refers to 
The Passionate Pilgrim; V. and A, to Venus and Adonis ; Z. C. 
to Lover's Complaint ; and Sonn. to the Sonnets. 

Other abbreviations that hardly need explanation are Cf. (confer, 
compare), Fol. (following), Id. {idem, the same), and Prol. (pro- 
logue). The numbers of the lines in the references (except for the 
present play) are those of the "Globe " edition (the cheapest and 
best edition of Shakespeare in one compact volume), which is now 
generally accepted as the standard for line-numbers in works of ref- 
erence (Schmidt's Lexicon, Abbott's Grammar, Dowden's Primer, 
the publications of the New Shakspere Society, etc.). 



ACT I 

Dramatis Person/e 

Nothing of the kind is given in the quarto, but at the end of the 
play in the 1st folio we find the following: * — 

* The only other plays in the folio to which similar lists are appended 
are Temp., T. G. of V, M. for M., W. T., 2 Hen. IV., and T. of A. 



Scene I] 



Notes 



I 7 I 



THE NAMES OF THE ACTORS 



Othello, the Moore, 

Brabantio, Father to Desdemona. 

Cassio, an Honourable Lieutenant, 

I ago, a Villaine. 

Rodorigo, a gulVd Gentleman, 

Duke of Venice. 

Senators, 

Montano, Gouer?wur of Cyprus, 

Gentlemen of Cyprus. 



Lodouico, and Gratiano, two noble 

Venetians, 
Saylors. 
Clowne, 

Desdemona, Wife to Othello. 
Emilia, Wife to Iago, 
Bianca, a Curtezan, 



Scene I. — " The republic of Venice became the virtual sover- 
eigns of Cyprus in 147 1; when the state assumed the guardianship 
of the son of Catharine Cornaro, who had married the illegitimate 
son of John III. of Lusignan, and, being left a widow, wanted the 
protection of the state to maintain the power which her husband 
had usurped. The island was then first garrisoned by Venetian 
troops. Catharine in 1489 abdicated the sovereignty in favour of 
the republic. Cyprus was retained by the Venetians, till 1570, 
when it was invaded by a powerful Turkish force, and was finally 
subjected to the dominion of Selim II. in 15 71. From that period 
it has formed a part of the Turkish empire. Leikosia, the inland 
capital of the island, was taken by storm ; and Famagusta, the 
principal seaport, capitulated after a long and gallant defence. It 
is evident therefore that we must refer the action of Othello to a 
period before the subjugation of Cyprus by the Turks. The locality 
of the scenes after act i. must be placed at Famagusta, which was 
strongly fortified — a fact which Shakespeare must have known 
when (iii. 2. 3) he wrote, 'I will be walking on the works'" 
(Knight). 

The cut on page 9 is from Vecellio's Habiti Antichi, 1590, and 
represents the identical dress worn by Prince Veniero, when he 
was made general at the time of the Turkish war, in 1570. "The 
general of the Venetian forces, to whatever nation he might trace 



172 Notes [Act I 

his birth (and it was always a foreigner who was selected for that 
office, * lest,' as Paulus Jovius says, * any one of their own country- 
men might be puffed up with pride, and grow too ambitious '), 
assumed, on the day of his election, a peculiar habit, consisting 
of a full gown of crimson velvet with loose sleeves, over which was 
worn a mantle of cloth of gold, buttoned upon the right shoulder 
with massy gold buttons. The cap was of crimson velvet, and the 
baton of office was of silver, ensigned with the winged lion of 
St. Mark" (Knight). Another portrait of Prince Veniero in the 
Habiti d' Huomini e Donne Venetiane, 1609, represents him in 
armour, but still wearing the mantle and bearing the baton already 
described. Othello speaks of his " helm " (i. 3. 272), and of course 
in action he wore the armour of the period, which was much the 
same throughout Christian Europe. 

3. This. That is, the elopement and marriage of Desdemona. 

4. ' Sblood. A contraction of God's blood. The folio suppresses 
the oath here. 

10. Off-capped. The folio reading (" Off-capt ") ; the quartos 
have " Oft capt," which some modern editors prefer, making cap — 
salute by taking off the cap. The only instance of the verb in S. is 
in Hen. V. iii. 7. 124 : "I will cap that proverb," etc. Cf. A. and 
C. ii. 7. 63 : "I have ever held my cap off to thy fortunes." 

13. Circumstance. Circumlocution ; as in M. of V. i. I. 154, 
etc. For bombast, cf. L.L.L. v. 2. 791 and 1 Hen. IV. ii. 4. 359 
(noun in both passages). S. uses the word only thrice. 

16. Certes. Certainly. Cf. Hen. VIII. i. 4. 48, etc. 

19. Arithtnetician. The only instance of the word in S. 
Steevens quotes R. and J. iii. 1. 106 : " that fights by the book of 
arithmetic." 

21. Wife. Probably = woman, as in M. of V. iii. 2. 58, Hen. V. 
iii. 3. 40, etc. The reference seems to be to his passion for Bianca, 
and Steevens may be right in explaining it as " very near being 
married." Cf. iv. 1. 117 below: " Faith, the cry goes that you 
shall marry her." Various emendations have been suggested. 



scene I] Notes 173 

23. Division, Disposition, arrangement. Cf. Much Ado, v. I. 
230 : " Rightly reasoned, and in his own division." For battle, cf. 
K.John, iv. 2. 78, etc. 

24. Theoric. Theory; as in A. W. iv, 3. 162 and Hen. V. i. 
1.52. 

25. Toged. Wearing the toga, or gowned. It is the reading of 
the 1st quarto ; the folios have " tongued," which some prefer. 
Consuls — senators ; as in i. 2. 43 below. Propose = speak, talk ; 
as in Much Ado, hi. 1. 3, Ham. i. 5. 152, etc. 

28. His. That is, Othello's. 

30. Be-lee'd. Placed on the lee, or in a position unfavourable to 
the wind ; used by S. only here. 

31. Debitor and creditor. The title of certain ancient treatises 
on bookkeeping ; here used as a nickname. So counter-caster is 
contemptuous for an accountant, or one who reckons by counters. 
Cf. Cymb. v. 4. 174 : " O the charity of a penny cord ! it sums up 
thousands in a trice ; you have no true debitor and creditor but it ; 
of what 's past, is, and to come, the discharge ; your neck, sir, is 
pen, book, and counters." Counter-caster is used by S. nowhere 
else. For counters (pieces of metal used in counting), see W. T. 
iv. 3. 38, /. C. iv. 3. 80, Cymb. v. 4. 174, etc. 

33. God bless the mark! Usually a parenthetic apology for some 
profane or vulgar word, but here used contemptuously. Ancient = 
ensign ; as in 2 Hen. IV. ii. 4. 74, etc. 

36. Letter. Recommendations by letter. 

37. Old gradation. The established order of promotion. Cf. 
M. for M. iv. 3. 104 : " By cold gradation " (that is, by deliberate 
steps). 

39. Affined. Bound by any tie. Cf. ii. 3. 200 below. 

41. Content you. Be at ease, do not worry. Cf. Cymb. i. 5. 26: 
" O, content thee ! " Often it is = compose yourself, keep your 
temper. 

45. Knee-crooking. Cf. Ham. iii. 2. 66 : " And crook the preg- 
nant hinges of the knee," etc. 



174 Notes [Act i 

48. For nought but provender, etc. Cf. what Antony says of 
Lepidus in J. C. iv. 1. 19 fol. 

49. Honest knaves, " Iago's sneer in using the word knaves for 
servants, while scoffing at their fidelity, is of kindred wit with 
Falstaff s calling a tradesman who applies for his justly due money 
a knave" (Clarke). See 2 Hen. IV. i. 2. 41. Cf. 115 below. Me 
is an expletive, used for vivacity of expression. Cf. the dialogue 
in T. o/S. i. 2. 8 fol. 

50. Trimm\d in forms and visages. Wearing the outward 
appearance. 

60. Peculiar. Personal, private; as in iii. 3. 79 and iv. 1. 63 
below. 

63. Compliment extern. Outward appearance of civility. S. 
uses extern as a noun in Sonn. 125. 2. 

64. Upon my sleeve. In plain sight, like a lady's favour (cf. 
Z. Z. Z. v. 2. 321) or a servant's badge (cf. JR. of L. 1054, etc.). 

66. Full. The quarto reading ; the folio has " fall," which 
Knight adopts, making the passage mean " What a fall does For- 
tune owe him ! " With the reading in the text (adopted by the 
editors generally), owe = own, possess ; as often. See iii. 3. ^^ 
below. For full fortune, cf. Cymb. v. 4. no and A. and Civ. 
15. 24. Thick-lips has been cited in support of the notion that 
Othello is a negro, but Roderigo uses the term contemptuously as 
= African. See Appendix, p. 249 below. 

68. The first him refers to Brabantio, the second to Othello. 

71. Though that. This use of that as " a conjunctional affix " was 
common. 

73. For as — that, cf. Sonn. 14. n, 36. 14, 78. 3, 96. 14, etc. 

75. Like . . . as. Cf. Rich. III. iv. I. 9: "Upon the like devo- 
tion as yourselves," etc. 

76. By night and negligence. That is, at night and through 
negligence; referring of course to the f re. 

86. For shame. For decency's sake. Brabantio has come to 
the window from his bed. 



Scene I] Notes 175 

87. Burst. Often used of the heart; as in A. W. iv. 3. 367, 
/. C. iii. 2. 190, Lear, v. 3. 182, 199, etc. 

88. Snorting. Snoring; as in 1 Hen. IV. ii. 4. 578: "Fast 
asleep behind the arras, and snorting like a horse." 

93. Worser. Often used by S. for worse. 

94. Haunt. Usually transitive in S., but cf. Macb. i. 6. 9 and 
L. C. 130. 

97. Distempering. Disordering, intoxicating. Cf. Ham. iii. 2. 
312, 313. 

98. Upon malicious bravery. Urged by a malicious desire to 
brave me. 

104. A grange. That is, a lonely farmhouse where a robbery 
could be easily committed. Cf. M. for M. iii. 1. 277 and W. T. 
iv. 4. 309. 

105. In simple and pure soul. In all simplicity and honesty. 
113. Odd-even, etc. Apparently meant for the interval between 

twelve at night and one in the morning. Cf. Macb. iii. 4. 127, 
where Macbeth asks, "What is the night?" and Lady Macbeth 
replies, " Almost at odds with morning, which is which." 

115. Knave. Menial. See on 49 above. 

117. And your allowance. And is allowed or approved by you. 

121. From. Away from, contrary to; as in J. C. i. 3. 35, ii. 1. 
196, Ham. iii. 2. 22, etc. 

126. In. For in = on, cf. i. 3. 74 below: "in your own part; " 
2 Hen. VI. iii. 2. 257 : " In pain of your dislike," etc. 

Extravagant — wandering, vagabond; as in Ha??i. i. I. 154. S. 
appears to have been the first to use the word in this etymological 
sense; and so with extravagancy (= vagrancy) which he has in 
T. N. ii. I. 12. Wheeling has much the same sense. Cf. T. and 
C. v. 7. 2 : " Attend me where I wheel." 

130. Strike on the tinder. Until friction matches were invented 
(about seventy years ago) tinder (charred linen kept in a metallic 
box), into which a spark was struck by means oi flint and steel, was 
in general use for lighting the matches made by dipping bits of 



176 



Notes [Act I 



wood into melted sulphur. Tinder is mentioned again by S. in 
M. W. i. 3. 27, where Bardolph is compared to a " tinder-box " ; 
and in Cor. ii. I. 55: "hasty and tinder-like upon too trivial 
motion. ,, Theyft?z/thus used is mentioned often; as in/. C. ii. 1. 
36, iv. 3. no, etc. 

138. Check. Rebuke ; as in hi. 3. 67 and iv. 3. 20 below. 

139. Cast him. Throw him over, dismiss him. Cf. ii. 3. 12, 
261, and v. 2. 326 below. 

141. Stand iii act. Are in action, are now going on. Stand 
is often nearly = be (Schmidt). Cf. i. 3. 70 and ii. 1. 51 
below. 

142. Fathom. Caliber, capacity; a nautical metaphor. Cf. i. 2. 
17 below: "give him cable." 

148. Sagittary. Perhaps the name of an inn. Clarke suggests 
that it may be " a private house bearing one of those distinctive 
names, and even signs, which it was the mode formerly to give to 
private mansions in England." It appears from i. 2. 45 below that 
Othello was not at his usual lodging, and the messengers of the 
senate had not known where to find him. Cassio also asks, " What 
makes he here ?" which implies that he was in an unfamiliar place. 
Note also what Othello says in i. 3. 121. These passages are suffi- 
cient to prove that Knight is wrong in thinking that the Sagittary 
is the arsenal at Venice, which was " the residence of the command- 
ing officers of the navy and army." He is wrong also in stating 
that " the figure of an archer, with his drawn bow, is over the gate " 
of the arsenal. It is one of four statues beside the entrance, and 
represents a man holding a bow (not "drawn"), but is no more 
conspicuous than its three companions. Mr. H. C. Hart, in his ed. 
of Othello (1903), adopts Knight's explanation, but evidently over- 
looks the fact that the Moor and Desdemona were not at his regular 
place of residence. 

151. My despised time. Cf. R. and J. i. 4. no: "a despised life 
clos'd in my breast." 

162. Maidhood. Used again in T. N. iii. I. 162. 



Scene II] Notes 177 

163. Abus'd. Deluded, deceived. Cf. Temp. v. I. 112, Much 
Ado, v. 2. 100, etc. 

171. At most That is, of the houses. 

Scene II. — 2. Stuff 0' the conscience. Matter of conscience. 
Cf. Ham. ii. 2. 324 : " there was no such stuff in my thoughts," etc. 

3. Contrived. Deliberate. Cf. Hen. V. iv. 1. 171: "premedi- 
tated and contrived murther ; " J. C. ii. 3. 16: "the Fates with 
traitors do contrive" (that is, plot), etc. 

5. YerVd. Thrust, stabbed. Cf. Hen. V. iv. 7. S3: "their 
wounded steeds . . . Yerk out their armed heels at their dead 
masters ; " the only other instance of the word in S. Him probably 
refers to Roderigo. 

6. 'T is better, etc. " How well these few words impress at the 
outset the truth of Othello's own character of himself at the end, 
that he was ( not easily wrought ! ' His self-government distin- 
guishes him throughout from Leontes" (Coleridge). 

10. Forbear. Spare, let alone. Cf. Ham. v. I. 296: "For love 
of God, forbear him," etc. 

12. Magnifico. Cf. M. of V. iii. 2. 282: " the magnificoes Of 
greatest port." Toilet quotes Minsheu, Diet. : " The chief men of 
Venice are by a peculiar name called magnifici, i.e. magnificoes.' 11 

14. Double. Malone quotes Thomas's Hist, of Italy, 1560: 
" Whereas many have reported, the duke in ballotyng should have 
two voices; it is nothinge so; for in giving his voice he hath but 
one ballot, as all others have." He had, however, a vote in each 
of the various councils of the Venetian state, a privilege which no 
other person enjoyed. But double here may be simply = forcible. 

17. Give him cable. That is, give him cable for. For the 
ellipsis, cf. i. 3. 94 below : " I won his daughter " (with). 

21. Promulgate. Make known; used by S. only here. 

22. Siege. Rank; literally, seat. Cf. Ham. iv. 7. 77: "of the 
unworthiest siege." It is used in the literal sense in M. for M. iv. 
2. 101 : "upon the very siege of justice." Demerits = merits; as 

OTHELLO— 12 



178 Notes [Act I 

in Cor. i. 1. 276 : " Of his demerits rob Cominius." It was = what 
one merits or deserves, in a good as well as a bad sense. For the 
latter, see Macb. iv. 3. 226 : " Not for their own demerits, but for 
mine." Steevens quotes Dugdale, Warwickshire : " Henry Con- 
way, esq., for his singular demerits received the dignity of knight- 
hood." 

23. Unbonneted. As this naturally means with the cap off (cf. 
Lear, iii. I. 14), Pope changed it to " unbonnetting." Schmidt 
remarks : " Perhaps the meaning is simply, I may say so with all 
courtesy and humility ; and Othello's words must perhaps be accom- 
panied by a corresponding gesture, as the 1st folio seems to imply 
by placing the word unbonneted in a parenthesis." Coleridge says : 
" It is not /, but my demerits, that may speak unbonnetted — without 
the symbol of a petitioning inferior." 

26. Unhoused. " Free from domestic cares" (Johnson). In T. 
of A. iv. 3. 229, it is =: houseless, shelterless. 

27. Circumscription. Restraint ; used by S. only here. Confine 
is accented by S. on either syllable. 

28. For the sea's worth. Cf. W. T. iv. 4. 501 : — 

" for all the sun sees, or 
The close earth wombs, or the profound sea hides 
In unknown fathoms ; " 

and Hen. V. i. 2. 164 : — 

" as rich with praise 
As is the ooze and bottom of the sea 
With sunken wrack and sunless treasuries." 

30. You were best. Originally the you was dative {to ox for you 
it were best), but it came to be regarded as a nominative. Hence 
we find "I were best" (M. of V.v. I. 175), "she were better" 
{T.N. i. 2. 27), etc. 

31. Parts. Merits. Cf. i. 3. 253 below: "his valiant parts." 
Perfect soul = unblemished honour. 



Scene II] Notes 179 

33. Janus. Cf. M. of V.\. I. 50: "by two-headed Janus." 
35. The goodness, etc. Cf. M. for M. iv. 2. 76: — 

" The best and wholesomest spirits of the night 
Envelop you, good Provost ! " 

37. Haste-post-haste. An emphatic form of post-haste. Cf. "post- 
post-haste " in i. 3. 46 below. 

40. Heat. Haste, urgency ; as in 2 Hen. IV. iv. 3. 27, etc. The 
galleys = the naval officers. 

43. Consuls. Senators, councillors ; as in i. I. 25 above. 

46. Quests. Used in a concrete sense, like search in i. 1. 148. 
It is = inquest, jury, in Sonn. 46. 10 and Rich. III. i. 4. 189. 

49. Makes. Does; as often. Cf. iii. 4. 168. 

50. Carack. A large ship, or galleon. Cf. C. of E. iii. 2. 140 : 
"whole armadoes of caracks." Steevens quotes Beaumont and 
Fletcher, Coxco??ib : " They 're made like caracks, all for strength 
and stowage." 

52. To who? Used again in Cymb. iv. 2. 75. Cf. i. 2. 52 below. 
As Steevens remarks, it is singular that Cassio should ask this ques- 
tion. Cf. iii. 3. 94 fol. below. Blackstone suggests that his igno- 
rance is affected, in order to keep his friend's secret until it should 
be publicly known. 

53. Have with you. I '11 go with you ; a common idiom. 

55. Be advised. Be cautious, take heed. Cf. the modern use 
of unadvised. 

56. To bad intent. Cf. T. of S. i. 2. 199 : " Why came I hither 
but to that intent ? " 

67. Opposite. Opposed, averse. Cf. Tear, ii. 1. 51 : — 

11 Seeing how loathly opposite I stood 
To his unnatural purpose," etc. 

68. Curled. Foppish, elegant. Cf. A. and C. v. 2. 304 : " the 
curled Antony," etc. 

70. Guardage. Guardianship; used by S. nowhere else. 



180 Notes [Act i 

71. To fear •, not to delight. "To one more likely to terrify than 
delight her" (Malone). Steevens and Schmidt make fear and 
delight verbs. 

72. For me, see on i. 49 above; and cf. J, C. i. 2. 270, Ham. 
ii. 2. 601, etc. Gross in sense = palpable to reason, absolutely 
clear. 

74. Minerals. Cf. ii. I. 293 below: "like a poisonous mineral," 
etc. 

75. Weaken motion. " Subdue the impulse of affection " (Clarke) . 
Cf. i. 3. in: — 

" Did you by indirect and forced courses 
Subdue and poison this young maid's affections f " 

Or it may mean " impair the faculties," as Ritson explains it; refer- 
ring to the power attributed to love potions or philters " of per- 
verting and of course weakening or impairing both the sight and 
judgment, and of procuring fondness or dotage toward any unworthy 
object." Disputed on = argued in court, made the subject of judicial 
investigation. 

77. Attach. Arrest; a law term. Cf. R. and J. v. 3. 173: 
"whoe'er you find attach." See also Hen. VIII. i. 1. 217, i. 2. 210, 
etc. 

78. Abuser of the world. Corrupter of the community. 

83. Cue. A figure taken from the familiar theatrical sense (see 
M. N. D. iii. 1. 78, 102, etc.) of the word. Cf. Hen. V. iii. 6. 130, 
Ham. ii. 2. 587, etc. 

86. Course of direct session. The regular course of legal pro- 
ceedings. 

99. Pagans. A contemptuous reference to Othello's nationality 
(Hart). 

Scene III. — 1. Composition. Consistency, agreement. News 
is both singular and plural in S. Cf. 32 below. 

5. Jump. Agree. Cf. T. N. v. 1. 259 : " till each circumstance 



Scene III] Notes 1 8 1 

... do cohere and jump." So jump zvith, as in M. of V. ii. 9. 32, 
I Hen. IV. i. 2. 78, etc. Just = exact; as in Much Ado, ii. 1. 375; 
"a just seven-night; " M. of V. iv. 1. 327: "a just pound," etc. 

6. Where the aim reports. " Where men report, not by certain 
knowledge, but by aim or conjecture" (Johnson). Cf. /. C. i. 2. 
163 : " What you would work me to, I have some aim," etc. 

10. I do not, etc. " I do not feel so over-confident on account of 
the error that may be in these reports, but that I can perceive 
ground for dread in the main particular " (Clarke). ¥ ox fearful = 
full of fear, see/". C.v, I. 10, V. and A. 6yy, etc. 

17. How say you by, etc. What say you to, etc. Cf. M. of V. 
i. 2. 58 : " How say you by the French lord? " 

18. By no assay of reason. By any test of reason. Pageant — 
show, pretence. The word is commonly applied to a theatrical 
exhibition. 

20. Importancy. Used by S. nowhere else. 

23. With more facile question bear it. " With greater facility of 
contest carry it." Questio?i = " trial and decision by force of arms." 

24. For that, etc. Because it is not in such warlike condition 
of defence. For that, see on i. 1. 71 above. Brace literally means 
armour; as in Per. ii. 1. 133. Cf. vantbrace in T. and C. i. 3. 297. 

30. Wage. Hazard, encounter. Cf. I Hen. IV. iv. 4. 20 : — 

" too weak 
To wage an instant trial with the king." 

33. Ottomites. Ottomans. Cf. 234 and ii. 3. 159 below. 

35. Injointed. Joined, allied. Cf. insinewed in the same sense 
in 2 Hen. IV. iv. 1. 172 (see also K. John, v. 2. 63). 

42. To believe him. That is, not to doubt the truth of this 
intelligence. 

44. Luccicos. Knight suggests that this is probably the name of 
" a Greek soldier of Cyprus — an Estradiot — one who from his 
local knowledge was enabled to give him information." 

46. Post-post-haste. See on i. 2. 37 above. 



1 82 Notes [Act I 

48. Valiant Othello, etc. Reed quotes Thomas, Hist, of Italye : 
" By lande they are served of straungers, both for generalls, for capi- 
taines, and for all other men of warre : because theyr lawe permit- 
teth not any Venetian to be capitaine over an armie by lande : 
Fearing, I thinke, Caesar's example." See p. 172 above. 

49. Ottoman. This may be either noun or adjective, but it is 
probably the latter. S. uses the word only here. 

52. Good your grace. Cf. iii. I. 29 below. 

56. Is of so flood-gate , etc. That is, has the impetuosity of a flood 
rushing through an open sluice. Cf. Hen. V.i. 1. 33: — 

" Never came reformation in a flood, 
With such a heady currance, scouring faults." 

57. Engluts. Swallows up. Cf. Hen. V. iv. 3. 83 : — 

" For certainly thou art so near the gulf, 
Thou needs must be englutted." 

61. Mountebanks. Quacks. Cf. Ham. iv. 7. 142: "I bought 
an unction of a mountebank," etc. The word is used as a verb 
(= gull) in Cor. iii. 2. 132. 

64. Sans. The word was fully Anglicized in the time of S. We 
find sans sometimes defined by " sanse " (or " sance ") in French 
dictionaries of the period. 

67. The bloody book of law. By the Venetian law the giving of 
love-potions was highly criminal. 

68. Read in the bitter letter, etc. Demand the severest literal 
interpretation of it, as you yourself understand it. 

69. Proper. Own; as often. Cf. Temp. iii. 3. 60: "their 
proper selves"; M.for M. iii. I. 413: "his proper tongue," etc. 

70. Stood in your action. Were the subject of your accusation 
See on i. 1. 141 above. 

82. Soft. Cf. Cor. iii. 2. 82 : — 

" Thou art their soldier, and being bred in broils 
Hast not the soft way which, thou dost confess, 
Were fit for thee to use," etc. 



Scene III] Notes 1 83 

90. Round. Plain, direct; as often. On deliver = relate, see 
Temp. ii. 1. 45, v. 1. 313, etc. 

94. / won his daughter. The later folios add "with." See on 
i. 2. 17 above, and cf. T. of A. iv. 3. 262: "more than I could 
frame employment " (for) ; Cymb. ii. 4. 68 : " well worth watching " 
(for), etc. 

95. Motion. " Movement of the soul, tendency of the mind, 
impulse" (Schmidt). 

96. Herself. Itself. S., like Milton, often uses her for its, which 
was then just coming into use; but his occurs oftener. Abbott 
remarks that " her is often applied by S. to the mind and soul." 

105. Conjur'd. Charmed by incantations. S. accents the word 
on either syllable without regard to the meaning. 

107. More wider. More apparent or obvious (Schmidt). For 
the double comparative, cf. 225 below. Overt test = " open proofs, 
external evidence " (Johnson). 

108. Thin habits. Superficial appearances. 

109. Modern. Common, insignificant; the usual meaning in S. 
115. Sagittary. See on i. 1. 148 above. 

124. Justly. Truthfully. Cf. M. for M. v. 1. 298: "Look you 
speak justly," etc. 

125. Thrive. Prosper, succeed. Cf. M. of V, ii. 7. 60: " Here 
do I choose, and thrive I as I may," etc. 

136. Scapes. Not " 'scapes," as often printed. It is used in 
prose. 

139. Portance. Conduct, deportment; as Cor, ii. 3. 232: "his 
present portance." 

140. Antres, Caverns (Latin, antrum) ; found only here. Idle 
= barren, unproductive. Wiclif has "The earth was idel and 
voide." Cf. idleness = want of cultivation, in 325 below and in 
Hen. V. v. 2. 51. 

142. It was my hint. I had occasion. Cf. hint — subject, in 
Temp. i. 2. 134, ii. 1. 3, etc. 

143. Cannibals. Also alluded to in 3 Hen, VI i. 4. 152, v. 5. 



1 84 Notes [Act 1 

61. In 2 Hen. IV. ii. 4. 180, Pistol confounds the word with 
« Hannibals." 

144. Anthropophagi. Man-eaters. Raleigh, in his Disc over ie 
of Guiana, 1596, mentions the Amazons, the Cannibals, and the 
" nation of people whose heads appear not above their shoulders." 
So Hakluyt, in his Voyages, 1598, speaks of a people " whose heades 
appeare not above their shoulders : they are reported to have their 
eyes in their shoulders, and their mouthes in the middle of their 
breasts." In Holland's Pliny, 1601, we read of "Anthropophagi, 
or eaters of man's flesh, whom we have placed above the north 
pole, tenne daies journey by land above the river Borysthenes," etc., 
and of people " without heads standing upon their neckes who 
carrie eies in their shoulders." Cf. Te??ip. iii. 3. 46: — 

" or that there were such men 
Whose heads stood in their breasts ? " 

147. Still. Ever, very often; as frequently. 
149. A greedy ear. Malone cites Marlowe, Lusfs Dominion, 
written before 1593 : — 

" Hang both your greedy ears upon my lips ; 
Let them devour my speech ; " 

and Spenser, F. Q. vi. 9. 26 : — 

" Whylest thus he talkt, the knight with greedy eare 
Hong still upon his melting mouth attent." 

151. Pliant. Convenient; used by S. only here. 

153. Dilate. Relate at length. Cf. C. of E. i. I. 123: — 

" Do me the favour to dilate at full 
What hath befallen of them and thee till now." 

So dilated — detailed in A. W. ii. 1. 59 and Ham. i. 2. 38. 

155. Intentively. Attentively. Steevens cites Chapman, Iliad, x. : 
" with intentive ear ; " and Odyssey, viii. : " intentively retaine." 
Bullokar, in his Expositor, 1616, has "Intentive, which listeneth 
well and is earnestly bent to a thing." 



Scene III] Notes 185 

159. Sighs. The quarto reading; the folios have "kisses," 
which is inconsistent with the character of Desdemona (see 94 
above), and with what follows. 

160. Passing. Often used adverbially, but only before adjectives 
and adverbs. On swore, cf. Whitaker's Vindication of Mary Queen 
of Scots (quoted by Steevens) : " Let not the modern reader be 
hurt here and in paragraph x. at a Lady, a Queen, and a Mary, 
swearing. To aver upon faith and honour, was then called swear- 
ing, equally with a solemn appeal to God; and considered as the 
same with it." Cf. 1 Hen. IV. iii. I. 249 fol., where Hotspur 
ridicules his wife for her mild oaths, and adds : — 

" Swear me, Kate, like a lady as thou art, 
A good mouth-filling oath." 

Clarke remarks on that passage : " Very characteristic of Harry 
Percy is his wishing his wife to abjure mincing oaths, and to come 
out with good round sonorous ones. Her Majesty Queen Eliza- 
beth's wonted imprecations were of this kind ; and some of them, 
recorded as being familiar in her mouth, were of a character suffi- 
ciently potential to become the lips of the daughter of Henry VIII., 
and warrant the dramatist in making Hotspur say, ' like a lady as 
thou art ' to his wife." 

163. Her. That is, for her; though some take it to mean that 
she would fain have been such a man. The former explanation is 
favoured by what follows. It is said in all innocence, and is in 
perfect keeping with the character. 

173. Take up, etc. That is, make the best of it. Cf. at the best 
= as well as possible, in T. of A. iii. 6. 29, etc. 

183. Learn. Teach ; as often in S. 

188. Challenge. Claim. Cf. Lear, i. I. 54: "Where nature 
doth with merit challenge," etc. 

190. Please it your grace. If it please you. The verb in this 
sense was originally impersonal (cf. sHl vous plait in French), and 
S. often uses it so. 



1 86 Notes [Act I 

191. Had rather. Good English then, as it still is. For the to, 
cf. M. of V. i. 2. 55 : "I had rather to be married," etc. 

197. Escape. Clarke thinks the word may have the sense of 
" sally, prank " (Fr. escapade) in addition to that of " flight, elope- 
ment." 

199. Like yourself. " In a strain of resignation to that which is 
irretrievably past and gone, like yours when you say, * I have 
done ' " (Clarke). Sir J. Reynolds explains it : " Let me speak as 
yourself would speak, were you not too much heated with passion." 

I find no hint in Furness's " New Variorum " ed., or elsewhere, 
that the authenticity of lines 199-219 has ever been questioned; 
but, for myself, I have no doubt that they are from some other hand 
than Shakespeare's. It seems to me extremely improbable that, 
after Brabantio's personal affair has been disposed of, the urgent 
business for which this midnight meeting has been called should 
not be taken up at once. The lines, moreover, are no less com- 
monplace than out of place, and the fact that they are in rhyme 
renders them the more suspicious. Iago's rhymes in ii. 1. 128-158 
cannot be quoted as a parallel : he has intimated that he is putting 
his comments upon woman into verse, and the rhyme serves to dis- 
tinguish it from his ordinary speech (" my Muse labours," etc.). It 
will be noticed that in the present instance the dialogue goes on 
naturally if the doubtful lines are omitted, as is always done on the 
stage. 

It may be added that the lines are not consistent with the con- 
text. The Duke begins by saying that he does it to " help these 
lovers into the favour " of Brabantio ; but the latter has already 
"accepted the situation," having just said to Othello that he gives 
him Desdemona with all his heart ; and he himself has proposed to 
drop the subject and turn "to the state affairs." Is it conceivable, 
when the immediate consideration of these affairs is of such vital 
importance, that the Duke should put them off and waste time with 
rhymed advice which is as superfluous as it is inopportune ? 

200. Grise. Step, degree. Cf. T. N, iii. I. 135: — 



Scene ill] Notes 187 

11 Olivia. That's a degree to love. 

11 Viola. No, not a grise." 

202. When remedies, etc. Cf. Z. Z. Z. v. 2. 28: "past cure is 
still past care." 

205. Next. Nearest. Cf. W. T. iii. 3. 129: "the next way 
home ; " I Hen. IV. iii. I. 264 : " 'T is the next way to turn tailor," 
etc. 

213. The free comfort, etc. "The gratuitous sentiments of con- 
solation which he hears delivered together with the sentence " 
(Clarke). 

216. To sugar or to gall. Schmidt strangely regards sugar and 
gall as verbs ; but, as Hart suggests, equivocal may be = equivalent, 
which the writer might have used if he had not wanted a rhyme. 
S. uses equivocal only here and in A. W. v. 3. 250. 

219. Pierced. Penetrated, reached. Cf. M. of V. v. I. 67: 
" With sweetest touches pierce your mistress' ear," etc. 

222. Fortitude. Strength. Cf. 1 Hen. VI. ii. 1. 17: "his own 
arm's fortitude." 

224. Allowed. Acknowledged ; as in Hen. VIII. ii. 4. 4 : " And 
on all sides the authority allow'd," etc. Opinion, etc., appears 
to mean that opinion, or reputation, is generally a safe guide to 
action; as here in the choice of a commander for the expedition. 

225. More safer. Cf. "more wider" in 107 above; also Temp. 
i. 2. 19: " more better," etc. 

226. Slubber. Sully, soil. S. uses the word only here and in 
M. of V. ii. 8. 39 : " Slubber ( = slight, slur over) not business for 
my sake; " but we have beslubber (= daub, smear) in 1 Hen. IV. 
ii. 4. 341. For the metaphor, cf. Much Ado, iii. 2. 6: " that would 
be as great a soil in the new gloss of your marriage," etc.; and 
Macb. i. 7. 34 : " Which should be worn now in their newest gloss." 

231. Thrice-driven. Referring to the selection of the feathers 
by driving with a fan, to separate the light from the heavy (John- 
son). Agnize = acknowledge, confess, avow. Malone quotes A 



188 Notes [Act I 

Summarie Report, etc., 1586 : "a repentant convert, agnising her 
Maiesties great mercie," etc. S. uses the word only here. 

233. Hardness. Hardship ; as in Cymb. iii. 6. 21 : " hardness 
ever Of hardiness is mother." 

237. Exhibition, Provision, allowance ; as in T. G. of V, i. 3. 

69:- 

" What maintenance he from his friends receives, 
Like exhibition thou shalt have from me." 

See also iv. 3. 74 below. Reference = assignment. 

238. Besort. "Befitting attendance" (Clarke). Schmidt de- 
fines acco7nmodation and besort as " besorting or convenient accom- 
modation." We find the verb in Lear, i. 4. 272: "such men as 
may besort (= become, befit) your age." 

239. Levels with. Is in keeping with. 

244. To my unfolding. To what I say. Cf. M. W, i. 3. 105, 
ii. 2. 227, etc. Prosperous — propitious. 

245. And let me, etc. " Let your favour privilege me " (Johnson) . 

246. Simpleness. Simplicity. Cf. M. N. D.v. 1. 83, etc. 

248. That L did love, etc. " Here is a notable instance of the 
way in which S. makes his most gentle woman speak out firmly and 
eloquently when stress of need comes. . . . Desdemona is gentle 
even to timidity ; but, like many women whose gentleness of nature 
has been wrought into timidity by a too rigid strictness on the part 
of those who bring them up, she is capable of singularly bold action 
and self-assertion on rare occasions" (Clarke). 

249. My downright violence, etc. The bold action I have taken, 
and the stormy fortunes I have voluntarily encountered, in order 
to marry him (Edwards). 

250. Subdued, etc. Made subject to the very nature of my lord, 

256. A moth. "Figuratively, an idle eater" (Schmidt). 

257. The rites, etc. Hart cites A. W. ii. 4. 42 and Sonn. 23. 6. 
259. Dear. Deeply felt. The word is often used of whatever 

affects one greatly, whether it be good or bad, agreeable or disa- 



Scene III] Notes 189 

greeable. Cf. " dear groans " (Z. Z. Z. v. 2. 874), " dear offences" 
{Hen. V.\\.2. 181), etc. 

263, 264. Nor to comply, etc. A much disputed passage. The 
quartos have " heate, the young affects, In my defunct;" the 1st 
folio, "heat the yong affects ("effects" in later folios) In my de- 
funct," etc. The reading in the text is Rann's. The meaning is, 
" I ask it not to please appetite, or satisfy loose desires, the passions 
of youth which I have now outlived, or for any particular gratifica- 
tion of myself, but merely that I may indulge the wishes of my 
wife" (Johnson). For affects — inclinations, desires, cf. Z. Z. Z. 
i. 1. 152: "For every man with his affects is born," etc. It has 
been said that Othello would hardly " confess that all youthful 
passions were defunct in him ; " but it may be replied that he only 
means, as the connection shows, that their early impetuosity is past 
— that he can control them, and is no longer controlled by them. 
In iii. 3. 265, he again alludes to the fact that he is not a young 
man, but " declined into the vale of years." 

265. Free. Liberal, bountiful. Cf. 1 Hen. VI v. 4. 82: "lib- 
eral and free ; " T. and C. iv. 5. 100 : " His heart and hand both 
open and both free," etc. 

266. Defend. Forbid ; as often. 

267. Scant. Be deficient in, neglect. Cf. iv. 3. 88 below. 

268. For. Because ; but connecting more closely than for as 
we now use it in that sense, as the omission of the comma indicates. 
Cf. M. for M. ii. 1. 27, where the modern pointing would make 
nonsense of the passage. Toys — trifles. Cf. I Hen. VI iv. I. 
145 : " a toy, a thing of no regard." 

269. Seel. Blind; a term in falconry. Cf. iii. 3. 210 and A. 
and C. iii. 13. 112. 

270. Offic'd instruments. My visual and active powers. So 
speculation = vision ; as in Macb. iii. 4. 95 : " no speculation in 
those eyes," etc. 

271. Disports. Sports, pastimes; as in R. of L. arg. 11 : "in 
several disports." 



190 Notes [Act 1 

272. Skillet A small kettle or boiler; still a familiar word in 
New England. S. uses it only here. 

273. Indign. Unworthy, disgraceful ; used by S. only here. 
283. Import. Concern. Cf. Z. Z. Z. iv. 1. 57: "This letter is 

mistook, it importeth none here," etc. 

286. With what else, etc. That is, whatever else your grace 
shall think needful, etc. For a similar transposition, cf. v. 2. 4 
below. 

289. Delighted. Delighting or delightful. Cf. Cymb. v. 4. 102 : — 

"to make my gift, 
The more delay'd, delighted." 

Cf. becomed — becoming, in R. and J. iv. 2. 26, etc. 

292. If thou hast eyes to see, etc. " In real life, how do we look 
back to little speeches as presentimental of, or contrasted with, an 
affecting event ! Even so Shakespeare, as secure of being read 
over and over, of becoming a family friend, provides this passage 
for his readers, and leaves it to them" (Coleridge). 

297. In the best advantage. At the most favourable opportunity. 
Cf. ii. 1. 237 and iii. 3. 312 below. 

305. Incontinently. Immediately. It is used by S. only here, 
but we have incontinent in the same sense in iv. 3. 12 below. See 
also A. Y. Z. v. 2. 42 and Rich. II v. 6. 48. 

312. Four times seven years. "It is remarkable that S. has here 
taken pains to specify the exact age of Iago, as he has specified that 
of Hamlet. They are perhaps the two most intellectual characters 
that our poet has drawn; and he has made them nearly of the same 
age, as if at that period of life a man's intellect were at its culmi- 
nating point of activity and energy. . . . That Iago should be no 
more than twenty-eight years old, and yet so versed in worldly 
ways, so decided in his opinions, so competent in stratagem, so 
expert in turning the worthiest as well as the weakest points of 
human nature to his purpose, so utterly without faith in goodness 
as he is, makes him the more an innate villain. . . . He is a hard, 



Scene Hi] Notes 191 

cold-blooded, almost vivacious scoundrel, from inherent disposition, 
who uses his keen intellect with the same fierce joy in its skill and 
power to destroy that he uses his sharp dagger or sword" (Clarke). 

315. A guinea-hen. A cant term for a woman of loose char- 
acter (Steevens). Hart thinks this meaning is " open to challenge; " 
but it is accepted by the Century Did. and the New English Diet. 

318. Fond. Foolish; as generally in S. 

320. Virtue ! a fig, etc. Coleridge remarks : "This speech com- 
prises the passionless character of Iago. It is all will in intellect; 
and therefore he is here a bold partisan of a truth, but yet of a truth 
converted into a falsehood by the absence of all the necessary 
modifications caused by the frail nature of man. And then comes 
the last sentiment : * Our raging motions, our carnal stings, our 
unbitted lusts, whereof I take this that you call love to be a sect 
or scion ! ' Here is the true Iagoism of, alas ! how many ! Note 
Iago's pride of mastery in the repetition of ' Go, make money ! ' to 
his anticipated dupe, even stronger than his love of lucre ; and 
when Roderigo is completely won — 'I am changed. I'll go sell 
all my land ; ' when the effect has been fully produced, the repeti- 
tion of triumph — 'Go to; farewell; put money enough in your 
purse!' — the remainder — Iago's soliloquy — the motive-hunting 
of a motiveless malignity — how awful it is ! Yea, whilst he is still 
allowed to bear the divine image, it is too fiendish for his own 
steady view — for the lonely gaze of a being next to devil and only 
not quite devil — and yet a character which Shakespeare has 
attempted and executed without disgust and without scandal ! " 

324. Gender. Kind. Cf. The Phoenix and the Turtle, 18: 
" thy sable gender," 

325. Idleness. See on i. 3. 140 above. Manured = tilled, cul- 
tivated ; the only instance of this obsolete sense in S. 

331. Motions. Sensual impulses. For stings, cf. A. Y. L. ii. 7. 
66 and M. for M. i. 4. 59. Unbitted = unbridled. 

333. Sect. Cutting ; the only instance of this sense in S. 

339. Perdurable. An emphatic form of durable. Cf. Hen. V. 



192 Notes [Act 1 

iv. 5. 7 : " O perdurable shame ! " So per durably = lastingly, in 
M.for M. iii. I. 115. 

340. Stead. Help, be of use to ; as in Temp. i. 2. 165, M. of V. 
i. 3. 7, R. and J. ii. 3. 54, etc. 

341. Defeat thy favour. Disfigure or disguise thy face. For 
favour — face, cf. Genesis, xxix. 17, etc. 

346. Sequestration. Separation, rupture. Cf. Hen. V.i. 1. $8: — 

Any retirement, any sequestration 
From open haunts and popularity." 

Sequester is used in the same sense in iii. 4. 40 below. 

349. Locusts. Perhaps here called luscious from their associa- 
tion with honey in Matthew, iii. 4 (Schmidt). 

350. Coloquintida. Colocynth, or "bitter apple." Bullein, in 
his Bulwark of Defence, 1579, speaks of it as "most bitter, white 
like a baule, full of seedes, leaves like to cucumbers," etc. 

356. Erring. Erratic, wandering ; asm Ham. \. I. 154: "The 
extravagant and erring spirit," etc. Supersubtle is used by S. 
nowhere else. Cf. super dainty (7*. of S. ii. I. 189), superfinical 
{Lear, ii. 2. 19), etc. 

359. Clean. Entirely. Cf. J. C. i. 3. 35 : "clean from the pur- 
pose," etc. See also Joshua, iii. 17, Psalms, lxxvii. 8, etc. 

366. Hea?-ted. Seated or fixed in the heart. Cf. iii. 3. 436 
below : " hearted throne." 

367. Conjunctive. Conjoined, united. Cf. Ham. iv. 7. 14: 
" conjunctive to my life and soul." 

371. Traverse. A military word of command = march, go on. 
Cf. 2 Hen. IV. iii. 2. 291 : "Hold, Wart, traverse." 

382. Snipe. Contemptuous = simpleton ; the only instance of 
the word in S. 

384. It is thought, etc. Snider {System of Shakespeare's Dramas, 
vol. i. p. 112 fol.) endeavours to show that Iago is really jealous of 
Othello, and that the latter has been guilty of adultery with Emilia, 
but I do not think that he makes out his case. That Iago not only 



Scene I] Notes 193 

suspects her of infidelity, but has charged her with it, is evident 
from what she says in iv. 2. 144 fol.; but that passage does not 
favour the theory that she is guilty. 

387. Will do, etc. That is, I will act as if I were certain of the 
fact. Holds me well = thinks well of me. 

389. Proper. Comely, handsome; as often. 

392. Abuse. Deceive, delude. See on i. I. 163 above. 

394. Dispose. Disposition, temper. Cf. T. and C. ii. 3. 174: — 

" He doth rely on none, 
But carries on the stream of his dispose 
Without observance or respect of any," etc. 



ACT II 



Scene I. — A Seaport in Cyprus. Undoubtedly Famagusta, 
which was the chief port of the island at that time. See p. 171 
above. 

2. High-wrought. S. is fond of compounds with high ; as high- 
battled, high-judging, high-reared, high-resolved, high- sighted, high- 
stomached, etc. 

5. At land. We still say at sea, but not at land. In Florio's 
Montaigne we find " at shore." 

7. Ruffian 1 d. Played the ruffian, been boisterous; the only in- 
stance of the verb in S. Cf. 2 Hen. IV. iii. 1. 22: "the ruffian 
billows; " and T. and C. i. 3. 38: " the ruffian Boreas." 

8. Mountains melt. Perhaps suggested by Judges, v. 5: "The 
mountains melted from before the Lord" (Steevens). 

10. Segregation. Separation, dispersion; used by S. only here. 

12. The chidden billozv. The brawling, contentious billow (Fur- 
ness). For the passive form, cf. delighted, i. 3. 289 above. S. often 
uses chide in this sense. Cf. A, Y. L. ii. I. 7 : "And churlish chid- 

OTHELLO — 13 



194 Notes [Act ii 

ing of the winter's wind; " Hen. VIII. iii. 2. 197 : "As doth a rock 
against the chiding flood," etc. 

13. Wind-shak 1 d. We have wind-shaken in Cor. v. 2. 1 1 7 : " the 
oak not to be wind-shaken. " S. uses shaked, shook, and shaken as 
the participle. 

Mane. The quartos have " mayne," the folios " maine," or 
"main." Most of the modern eds. give "main" (= force, as in 
"might and main"), but mane, as Knight remarks, is "as fine a 
figure as any in S." 

15. The guards, etc. Johnson says, "alluding to the star Arc- 
tophylax" The constellation now known as Bootes was originally 
called Arctophylax, or Arcturus, both of which names mean the 
guard or keeper of the bear. The name Arcturus was afterwards 
given to the principal star in the constellation. According to old 
writers on navigation, the guards were the two stars /3 {Beta) and 
7 ( Gamma) of Ursa Minor, or the Little Bear. 

16. Molestation. Disturbance; used nowhere else by S. 

17. Enchafed— chafed, enraged. Cf. Cymb. iv. 2. 174: "Their 
royal blood enchaf d." 

18. Embay 1 d. Land-locked; used by S. only here. 

22. Designment. Design, enterprise. Cf. Cor. v. 6. 35 : " serv'd 
his designments." 

23. Sufferance. Disaster. 

25, 26. The early eds. put a colon after in, and a comma after 
Veronese, which the quartos spell "Veronessa," and the 1st folio 
" Verennessa." Some editors take the ship to be " one fitted out by 
the people of Verona, a city of the Venetian state." This is a 
rather forced explanation; and, as a choice of difficulties, it seems 
better to suppose that S. forgot for the moment that he had made 
Cassio a Florentine, or that he chose to let the speaker call him a 
Veronese. Veronese may be metrically a quadrisyllable; some print 
it "Veronese." 

30. On 't. Of it; a common use of on. For V is, cf. Macb. i. 4. 
58 : " It is a peerless kinsman; " T. of A. iii. 1. 23 : "a noble gen- 



Scene I] Notes 195 

tleman 't is," etc. Oftener it is used contemptuously; as in M. ofV. 
iii. 3. 18, Hen. V. iii. 6. 70, A. and C. iii. 2. 6, etc. Cf. iv. I. 89 
below. 

34. With. By ; often thus used of the agent or instrument. 

36. Full. Complete, perfect. Cf. A. and C. iii. 13. 87: "the 
fullest man; " which Schmidt explains as " one that has more of a 
man in him than anybody else." 

40. Regard. View; as in L. C. 213: " The deep-green emerald, 
in whose fresh regard," etc. 

42. Arrivance. Arrival; used by S. only here. Clarke notes 
that there is an unusual number of words in -ce in this play. 

49. Expert and approved allowance. That is, allowed and proved 
expertness. The relations of adjectives and their nouns are not in- 
frequently thus inverted. See Schmidt, Lexicon, p. 141 7. 

50. My hopes, etc. My hopes, not having been unreasonably 
indulged, may confidently expect to be fulfilled. Malone compares 
T.N.i. 1. 2: — 

" Give me excess of it, that, surfeiting, 
The appetite may sicken and so die ; " 

and T. G. of V. iii. 1. 220: — 

"0,1 have fed upon this woe already, 
And now excess of it will make me surfeit." 

Henley cites Proverbs, xiii. 12: " Hope deferred maketh the heart 
sick." 

60. Wiv'd. Cf. M. of V. i. 2. 145 : " I had rather he should 
shrive me than wive me; " 2 Hen. IV. i. 2. 61 : "manned, horsed, 
and wived," etc. 

61. Achieved. Won; as in M. of V. iii. 2. 210: " Achiev'd her 
mistress," etc. 

Coleridge remarks : " Here is Cassio's warm-hearted, yet per- 
fectly disengaged, praise of Desdemona, and sympathy with the 
'most fortunately' wived Othello; and yet Cassio is an enthusiastic 



196 



Notes [Act 11 



admirer, almost a worshipper, of Desdemona. . . . And note the 
exquisite circumstance of Cassio's kissing Iago's wife, as if it ought 
to be impossible that the dullest auditor should not feel Cassio's 
religious love of Desdemona's purity. Iago's answers are the 
sneers which a proud, bad intellect feels towards women, and 
expresses to a wife. Surely it ought to be considered a very ex- 
alted compliment to women, that all the sarcasms on them in 
Shakespeare are put in the mouths of villains." 

62. Paragons. Excels, surpasses. S. uses the verb, with modi- 
fied sense, in Hen. VIII, ii. 4. 230 and A, and C, i. 5. 71. 

63. Quirks. Conceits; as in Much Ado, ii. 3. 245 : " odd quirks 
and remnants of wit," etc. Blazoning upraising, extolling; as in 
R. and J. ii. 6. 26 : " and that thy skill be more To blazon it," etc. 

64. The essential vesture of creation, " The real qualities with 
which creation has invested her" (Johnson). Hart thinks the 
word may be derived from essence, as S. uses it in iv. 1. 16, and 
defines it as " ethereally pure, or celestial," which gives a finer 
sense. S. uses essential nowhere else. 

65. Does tire the enginer. Wearies out the inventor, or who- 
ever attempts to devise eulogies worthy of her. The passage has 
been much discussed, and may be corrupt. 

69. Guttered, Jagged; used by S. only here. 

70. Traitors ensteef d. "Traitors concealed under the water" 
(Boswell) . Cf. steep" d in iv. 2. 49 below. 

72. Mortal, Deadly, destructive; as often. 

74. Captain's captain, Cf. Rich, III, iv. 4. 336 : " And she shall 
be sole victress, Caesar's Caesar." 

75. Conduct, Escort. Cf. M. ofV. iv. I. 148, T. N, iii. 4. 265, 
Cymb. iii. 5. 8, etc. 

77. SeUmigJifs, We have seven-night in Much Ado, ii. 1. 375 
and W, T. i. 2. 17. Cf. fortnight. It has been supposed that Jove 
was substituted for " God " on account of the statute against the 
use of the latter on the stage; but Clarke remarks: "We believe 
it to have been the author's own word, characteristically put into 



Scene I] Notes 197 

Cassio's mouth here. To this day Italians use mythological adjura- 
tions in common with Christian appeals; and in Shakespeare's 
time the custom was almost universal." 

79. Tall. A common epithet for a ship, and = " large and 
strong, stout" (Schmidt); as in M. of V. hi. I. 6, Rich. II. ii. 1. 
286, and Lear, iv. 6. 18. Cf. tall in a similar sense applied to men; 
as in 1 Hen. IV. i. 3. 62, A. and C. ii. 6. 7, etc. 

80. Extincted. Used by S. only here; but we have extinct in 
Rich. II. i. 3. 222 and Ham. i. 3. 118, and extincture in L. C. 294. 

82. Riches, Singular, as in iii. 3. 173 below. Cf. Sonn. 87. 6: 
" for that riches," etc. The word was originally singular (from the 
French richesse). 

86. Enwheel. Encompass; used by S. only here. 

103. List. Desire, inclination; the only instance of this sense 
in S. 

106. Chides. Scolds; as in A. Y. L. iii. 5. 64, 65, etc. 

108. Pictures. Painted things. Cf. Ham. iii. 1. 148 fol. 

109. Bells. Hart cites Robert Tofte, Blazon of Jealousy, where 
a shrew's tongue is likened to a bell; and Peele, Old Wives Tale, 
where Lampriscus says that his first wife had a tongue that sounded 
"like the clapper of a great bell." But may it not be antithetical 
to the wild-cats and mean "sweet bells " rather than those "jangled 
out of tune?" Cf. the antitheses in the following lines. 

no. Saints in your injuries. Sanctimonious when doing in- 
juries. 

in. Housewives. Often used contemptuously = hussies. Cf. 
iv. 1. 88 below. 

118. Critical. Censorious; as in M. N. D. v. 1. 54: "some 
satire, keen and critical." S. uses the word only twice; but he 
has critic in the same sense in L. L. I. iv. 3. 170: " critic Timon." 
The noun also is always = censurer, carper; as in Sonn. 1 1 2. 10, 
T. and C.v. 2. 131, etc. 

125. Birdlime. For the allusion, see Ham. iii. 3. 68 : " O limed 
soul ! " etc. Frize is a coarse woollen cloth, mentioned again in 



198 Notes [Act 11 

M. W. v. 5. 146. Steevens quotes The Puritan: "The excuse 
stuck upon my tongue, like ship-pitch upon a mariner's gown." 

132. White. There is a play on white and wight (Schmidt) ; 
and in 135 just below, one on folly, which was often = wantonness. 
See on v. 2. 130 below. 

137. Fond. Foolish; as in i. 3. 318 above. 

142. Heavy. Dull. Cf. K. John, iv. 1. 47: " cheer'd up the 
heavy time," etc. 

144. One that, etc. One who, in the consciousness of her own 
merit, dare challenge the testimony of malice itself in her behalf. 

154. To change, etc. As to change a choice bit for one less 
esteemed. Hart notes that cod's head was = a fool; and he thinks 
the meaning here may be " preferring even a bit of the best of 
fishes, a thing of true worth, for all of an empty-headed courtier." 

157. Wight. Originally = person, and applied to both sexes. 
Cf. Drayton, Muses' Elysium : — 

11 These sprightly gallants lov'd a lass, 
Call'd Lirope the bright ; 
In the whole world there scarcely was 
So delicate a wight." 

159. Chronicle small beer. That is, keep petty household ac- 
counts. For small beer, cf. 2 Hen. IV. ii. 2. 8, 13, and 2 Hen. VI. 
iv. 2. 73. 

162. Profane and liberal counsellor. Coarse and wanton talker. 
For profane, cf. 2 Hen. IV. v. 5. 54; and for liberal, v. 2. 218 below. 
See also Much Ado, iv. I. 93 : "a liberal villain," etc. 

164. Home. That is, without reserve. Cf. Ham. hi. 3. 29: 
" she '11 tax him home " (reprove him soundly) ; Id. iii. 4. I : " Look 
you lay home to him;" M. for M. iv. 3. 148: "Accuse him home 
and home," etc. 

165. In the soldier. Who might be expected to be blunt. 

166. Well said. Well done; as in iv. I. 108 and v. I. 98 below. 
169. Gyve. Fetter, shackle; the only instance of the verb in 



Scene I] Notes 199 

S. Courtship = courtesy; as in Z. Z. L. v. 2. 363: "Trim gallants, 
full of courtship and of state," etc. 

173. Play the sir. Play the fine gentleman. For the ironical 
use, cf. W. T. i. 2. 212: "this great sir;" Cymb. i. 1. 166: "To 
draw upon an exile ! O brave sir ! " etc. 

174. Courtesy. It is doubtful whether this refers to Cassio or 
Desdemona, as the word in the sense of an act of salutation 
was used of both sexes. Cf. R. of Z. 1338: "The homely villain 
court'sies to her low." 

180. Warrior. In playful allusion to her having followed him 
to the wars; and perhaps Desdemona has the present address in 
mind in iii. 4. 150 below. 

181. Content. Happiness, joy; as in 189 and 194 just below. 
Cf. Hen. VIII. i. 4. 3 : — 

11 this night he dedicates 
To fair content and you," etc. 

199. Set down the pegs seems to be a figure suggested by a 
stringed instrument. 

203. Steevens explains well desired &s> "much solicited by invita- 
tions," but it seems to be simply = well beloved, a favourite. 
Othello adds, " / have found great love amongst them." Honey as 
an adjective (= sweet) is often applied to persons; as in T. of S. 
iv. 3. 52., R. and J. ii. 5. 18, etc. 

205. Out of fashion. "Out of conventional method." Cf. 
Hen. V. iv. I. 85. 

208. Master. That is, the captain (as we still use the term), 
not the pilot, as Johnson explains it. Cf. Temp. i. 1. 2, 8, 1 1, 13, 
ii. 2. 48, v. I. 99, Macb. i. 3. 7, etc. 

214. Base men, etc. "The insolent contempt with which Iago 
treats Roderigo, not even caring to conceal the disdain he feels for 
his inferiority of intellect and weak credulity, is one of the peculiari- 
ties of his tact in swaying this poor dupe" (Clarke). Hart sug- 
gests that the sentence may be an " aside." 



200 Notes [Act ii 

A nobility, etc. Malone quotes Ham. iv. 5. 161 : "Nature is fine 
in love; " and Steevens adds from Dryden: "Why love does all 
that 's noble here below." 

216. The court of guard. The place where the guard musters. 

220. Thus. That is, " on thy lips, and note what I say." 

222. But for. "Only because of"; the only instance in S. of 
this precise meaning (Hart). 

228. Favour. Personal appearance. See on i. 3. 341 above. 

230. Conveniences. Attractions. 

231. Heave the gorge. Be nauseated. Cf. Ham. v. 1. 207: "my 
gorge rises at it." 

235. Pregnant. Probable, plausible; as in M. for M. ii. 1.23: 
"'T is very pregnant," etc. 

237. Conscionable. Conscientious; used by S. only here. Vol- 
uble has the obsolete sense of " changeable, fickle." 

239. Salt. Lustful, licentious; as in M. for M. v. 1. 406, A. 
and C. ii. 1. 21, etc. 

241. Slipper. " Slippery" (the reading of the later folios). S. 
uses the adjective only here. 

242. Stamp. " Make valid and current " (Schmidt). 

245. Green. Inexperienced; as in K. John, ii. 1.472, Ham.i. 
3. 101, etc. 

247. Found him. Found him out. Cf. A. W. ii. 3. 216, Ham. 
iii. I. 193, etc. 

249. Condition. Disposition, qualities. Cf. M. of V. i. 2. 143 : 
" the condition of a saint." 

253. Paddle, etc. Cf. W. T. i. 2. 115 and Ham. iii. 4. 185. 

256. Index. Prologue. The index was formerly placed at the 
beginning of books. See Ham. iii. 4. 52, Rich. III. ii. 2. 149, 
etc. 

262. Cassio knoivs you not. Cf. i. 3. 341, where Iago has sug- 
gested that Roderigo disguise himself. 

264. Tainting. Discrediting, impugning. Cf. Hen. VIII. iii. 
1. 55, etc. 



Scene I] Notes 20 1 

268. Sudden. Hasty, impetuous. Cf. A. Y. L. ii. 7. 151 : "sud- 
den and quick in quarrel." 

271. Whose qualification, etc. "Whose resentment shall not be 
so qualified or tempered as to be well tasted, as not to retain some 
bitterness" (Johnson). Cf. the use of qualified in ii. 3. 32 below. 

272. Displanting. Displacing, deposing. S. uses the word only 
here and in R. and J. iii. 3. 59. 

274. Prefer. Advance, promote. Cf. Hen. VIII. iv. I. 102: 
" Newly preferr'd from the king's secretary," etc. 

276. Prosperity. Success; as in L. L. L. v. 2. 871 : "A jest's 
prosperity," etc. 

283. Apt, etc. Natural and very credible. Cf. v. 2. 1 75 below : 
* apt and true." 

291. I do suspect, etc. See on i. 3. 384 above. " This thought, 
originally by Iago's own confession a mere suspicion, is now ripen- 
ing, and gnaws his base nature as his own * poisonous mineral ' is 
about to gnaw the noble heart of his general " (Coleridge). 

299. Whom I trash, etc. For trash, a hunter's term = check, 
keep back, see Temp. i. 2. 81. Iago means that he restrains 
Roderigo like a hound for too impatient pursuit of Desdemona. 
The folio has "trace," which Halliwell-Phillipps explains thus: 
"whose steps I carefully watch, in order to quicken his pace; " and 
Furness indorses this interpretation. 

300. The putting on. This refers to his picking a quarrel with 
Cassio, not to his " quick hunting " of Desdemona. 

301. On the hip. A term in wrestling, meaning to "have the 
advantage of." Cf. M. of V. i. 3. 47: "If I can catch him once 
upon the hip; " and Id. iv. I. 334: "Now, infidel, I have you on 
the hip." 

302. In the rank garb. In the coarsest fashion. For garb, cf. 
Ham. ii. 2. 390 : " comply with you in this garb," etc. For rank 
(quarto reading) the folio has " right," which some editors prefer. 

308. Knavery' 1 s plain face, etc. The full design of knavery is 
never visible until the moment comes for its being put in practice. 



202 Notes [Act II 

Scene II. — 3. Mere perdition. Absolute destruction. Cf. M. 
of V. iii. 2. 257: "his mere enemy," etc. 

4. Put himself into triumph. Give himself up to exultation. 
Cf. Per. i. 3. 24 : " puts himself unto the shipman's toil," etc. 

6. Addiction. Inclination; as in Hen. V. i. 1.54: "Since his 
addiction was to courses vain." The folio has " addition," which 
Furness defends, as = disposition, or natural bent. 

7. Nuptial. S. uses the singular, except here (quarto text only) 
and Per. v. 3. 80. 

8. Offices. The rooms in the castle where food and drink were 
prepared and kept. 

Scene III. — 1. Good Michael, etc. " These few words, intro- 
duced at this juncture, are illustrative of Shakespeare's peculiar 
skill in dramatic art. They seem insignificant; but they give aug- 
mented effect to Othello's subsequent anger at Cassio's having been 
betrayed not only into neglect of duty in preserving order, but into 
breach of order himself. They also serve to set well before the 
mind Othello's trust and confidence in Cassio as his chosen officer, 
and his liking for him as a personal friend; calling him by his 
Christian name, Michael, which, after the one final impressive 
appeal to him, * How comes it, Michael, you are thus forgot ? ' he 
never again uses " (Clarke). 

3. Oulsport. Go too far in revelling ; used by S. only here. 

7. With your earliest Cf. A. and C. v. 1. 67: "with your 
speediest." 

12. Cast. Dismissed, sent off. See on i. 1. 139 above. 

22. Stoup. Cup, flagon. Cf. T. N. ii. 3. 14, Ham. v. 1. 68, etc. 

32. Craftily qualified. Slyly diluted (that is, by Cassio himself). 

33. Here. That is, in my head; as a gesture shows. 

39. Dislikes. Displeases, is distasteful to. For the impersonal 
use, cf. R. and J. ii. 2. 61. 

45. Caroused. Drunk. Cf. Ham. v. 2. 300: "The queen ca- 
rouSes to thy fortune, Hamlet," etc. 



Scene Hi] Notes 203 

46. Pottle-deep, To the bottom of the pottle or tankard (origi- 
nally a measure of two quarts). Cf. M. W, ii. I. 223 and iii. 5. 30. 
We find pottle-pot in 2 Hen, IV. ii. 2. 83 and v. 3. 68. 

47. Swelling. Cf. /ifew. F. v. i. 15: " here he comes, swelling 
like a turkey-cock." 

48. That hold, etc. That is, are sensitive with regard to their 
honour, or quick to take offence at a supposed insult. 

49. The very elements. "As quick in opposition as fire and 
water " (Johnson). Cf. Rich. II. iii. 3. 55 : — 

11 Methinks King Richard and myself should meet 
With no less terror than the elements 
Of fire and water, when their thundering shock 
At meeting tears the cloudy cheeks of heaven." 

Hart explains it as = " as though the first principles; that is, the 
* master spirits ' of the isle." 

54. If consequence, etc. If the result do but justify my expecta- 
tion. "Every scheme subsisting only in the imagination maybe 
termed a dream " (Johnson). 

56. Fore. Not 'fore. It is not a contraction of before. A rouse 
— a bumper, or too deep a draught. Cf. Ham. i. 2. 127, i. 4. 8, etc. 

60. Canakin. A diminutive of can; used by S. only here. 
Steevens cites Barclay, Ship of Fools : " some quafes ye canakin 
halfe full." 

71. Exquisite. Cf. Beaumont and Fletcher, The Captain: — 

" Lod. Are the Englishmen 
Such stubborn drinkers ? 

Piso. not a leak at sea 

Can suck more liquor ; you shall have their children 
Christen'd in mull'd sack, and at five years old 
Able to knock a Dane down." 

74. Almain. German (Fr. Allemand). Cf. Drayton, Polyol- 
bion : " Of Almains, and to them for their stout captain gave," etc. 
We find also the forms Aleman and Alman. So Germany was 



204 Notes [Act ii 

called Almany ; as in Harrington's Ariosto : "And dwelt in 
Aim any." 

81. King Stephen, etc. These stanzas are from an old song, 
"Take thy old cloak about thee," which may be found in Percy's 
Reliques. Cf. Temp. iv. i. 221 : " O King Stephano ! O peer ! " 

84. Lown. " Lout, stupid fellow." Cf. Per. iv. 6. 19 : " both 
lord and lown." Loon (see Macb. v. 3. 1 1) is the same word. 

117. Equinox. Equal, counterpart; the only instance of the 
word in S. 

123. He % ll watch, etc. That is, he will keep awake while the 
clock strikes two rounds, or twenty-four hours (forty-eight, if 
Italian clocks are meant). S. uses horologe nowhere else. Cf. 
Drayton, Moses: "The cock, the country horologe," etc. 

133. Ingraft. Ingrafted, inveterate. Cf./. C. ii. 1. 184: "the 
ingrafted love he bears to Caesar," etc. Here it may be the par- 
ticiple of ingraff. S. uses both graff and misgraff. 

134. Action. Metrically a trisyllable. Qi. patience in 357 below. 
140. Twiggen. Covered with twigs, or wicker-work. The 

quartos read "wicker." 

143. Mazzard. Head; as in Ham. v. 1. 97. S. uses the word 
only twice. 

149. Diablo ! The devil ! "Appropriately put into the mouth 
of the Italian Iago " (Clarke). 

158. Turned Turks. Proverbially = to change entirely for the 
worse. Cf. Much Ado, iii. 4. 57, Ham. iii. 2. 287, etc. 

161. Carve for his own rage. Cf. Ham. i. 3. 20: " He may not 
. . . Carve for himself" (that is, indulge himself, do as he pleases). 

164. From her propriety. That is, out of herself. Cf. T. N. 
v. 1. 150 : "That makes thee strangle thy propriety" (disavow thy 
individuality). 

168. /;/ quarter. In peace, or concord (Schmidt). Cf. C. of E. 
ii. 1. 108 : " keep fair quarter with his bed" ; and K. John, v. 5. 20 : 
" keep good quarter and good care to-night." Some make it = at 
our posts. 



Scene III] Notes 205 

169. Devesting. Undressing ; used by S. only here. 

170. Planet. For the supposed planetary influence, cf. Ham. i. 
I. 162 : " no planets strike." 

173. Peevish odds. Silly quarrel. Peevish often has this meaning. 
176. Are thus forgot. Have thus forgotten yourself. Cf. "And, 
now I am remember'd, scorn'd at me" (A. Y. L. iii. 5. 131). 

178. Were wont be civil. S. often omits to where it is now 
inserted, and vice versa. Cf. iii. 3. 77 below. 

179. Stillness. Quiet. Cf. Hen. V. iii. I. 4 : "modest stillness 
and humility." 

181. Censure. Judgment ; as often. 

182. Unlace. Slacken, or loosen; or, perhaps, strip off its orna- 
ments (Johnson). Hart thinks it may mean " cut up or break up." 

183. Spend your rich opinion. Throw away or squander your 
valuable reputation. For opinion = reputation, cf. M. of V. i. 1. 
91, etc. 

185. Hurt to danger. Dangerously wounded. 
187. Something now offends. Now somewhat pains. The ad- 
verbial use of something was common. 

190. Self charity. Charity to one's self, care of one's self. 

193. My blood, etc. My anger begins to prevail over my good 
sense and judgment. 

194. Collied. Obscured; literally, blackened as with coal or 
smut ; used again in M. N. D. i. 1. 145 : "the collied night." Cf. 
collier. 

199. Approved in this offence. Proved to have been engaged in 
this offence. Cf. M. ofV. iii. 2. 79 : "approve it with a text," etc. 

200. Twinn'd. Cf. W. T. i. 2. 67 : " twinn'd lambs ; " T. of A. 
iv. 3.3: " Twinn'd brothers," etc. 

203. Manage. Bring about, set on foot. Cf. the use of the 
noun in R. and J. iii. 1. 148: "The unlucky manage of this fatal 
brawl." 

204. The court and guard of safety. "The very spot and guard- 
ing-place of safety" (Clarke). 



2o6 Notes [Act ii 

205. Monstrous. A trisyllable, as in Macb. iii. 6. 8. 

206. Affirid. Influenced by any tie or affinity. See on i. I. 39 
above. 

207. Deliver. Speak. See on i. 3. 90 above. 

216. Execute upon him. Wreak his anger upon him. 

217. Entreats his pause. Begs him to stop. Cf. Ham. iii. I. 68 : 
" Must give us pause," etc. 

218. Myself, etc. " Iago's thoroughly lying account of the inci- 
dents that occurred, with his art in seeming to * mince ' the * mat- 
ter' and make ' it light to Cassio,' while in fact contriving to give 
all possible heightening touches of his misdeed, is most skilfully 
managed in this speech. It will be remembered that, far from 
pursuing Roderigo and returning to the scene of the conflict, 
Iago never stirs from the spot, but remains to direct the movements 
of his puppets, and prompt them in the parts which he has pre- 
viously designed that they should perform ; and that, instead of 
Cassio's having been * high in oath,' he has given vent to nothing 
more offensive in speech than the threats, * I '11 beat the knave into 
a twiggen bottle ' and* I '11 knock you o'er the mazzard' " (Clarke). 

222. For that. Because. See on i. 3. 268 above. 

240. Sweeting. Cf. T. of S. iv. 3. 36 : " What, sweeting, all 
amort ? " T. N. ii. 3. 43 : "Trip no further, pretty sweeting," etc. 

242. Lead him off. Malone thinks this a stage-direction that 
has got into the text ; but, as Hart suggests, " it is not an unnat- 
ural remark after Othello's announcing his intended care." 

255. Sense. Sensibility, feeling. 

257. Imposition. According to Schmidt = imposture ; but no 
example of this meaning has been found earlier than 1672. Hart 
explains it as "that which is imposed, laid, or placed upon." Cf. 
W. T. i. 2. 74. 

261. Cast. Dismissed, cashiered. See on i. 1. 139 above. 

262. Beat his offenceless dog, etc. A proverbial expression, 
found in the French, and explained by Cotgrave thus : " To punish 
a mean man, in the presence of, and for an example to the mighty." 



Scene in] Notes 207 

268. Speak parrot Talk nonsense ; like discourse fustian just 
below. 

272. What. Who ; as in 323 below, and often. 

279. Pleasance. "Pleasure" (the quarto reading). Cf. P. P. 
158: "Youth is full of pleasance, age is full of care. ,, 

284. Unperfectness. Imperfection ; used by S. only here. Cf. 
unperfect in Sonn. 23. I and Psalms, cxxxix. 16. 

286. Moraler. Moralizer ; used by S. only here. Cf. moral — 
moralize in A. Y. Z.'ii. 7. 29, the only instance of the verb in S. 
(by some regarded as the adjective). 

292. Hydra. For the allusion, cf. 1 Hen. IV. v. 4. 25 and Cor. 
iii. 1. 93. The word is an adjective in 2 Hen. IV. iv. 2. 38: "this 
Hydra son of war." 

293. By and by. Presently ; as often. So presently — imme- 
diately ; as in v. 2. 52 below. 

295. Unblest. Accursed; as in v. I. 34 below. 

299. Approved. Proved. Cf. 199 above. 

300. A time. One time. For this use of a, cf. R. and J. ii. 4. 
187 and Ham. v. 2. 232, etc. 

304. Denotement. Denoting, indication. The first folio and 
first quarto have " deuotement " (devotement), which some prefer, 
in spite of the "devote . . . devotement." We find denote (= mark, 
indicate) in iii. 3. 416 and iv. 1. 274 below. Parts = qualities. 
Cf. i. 3. 253 above. 

310. Splinter. Bind up with splints; the only sense in which 
S. uses the verb. Cf. Rich. III. ii. 2. 118 : 

" The broken rancour of your high-swoln hearts, 
But lately splinter'd, knit, and join'd together." 

311. Lay. Wager, stake; as in 2 Hen. VI. v. 2. 27 and Cymb. 
i. 4. 159. Crack — breach. Cf. L.L.L. v. 2. 415: "My love to 
thee is sound, sans crack or flaw." 

323. What \y. Who is. See on 272 above. 



208 Notes [Act II 

324. Free, Innocent, harmless. See Ham. p. 213, and cf. iii. 
3. 255 below : " hold her free." 

325. Probal. Perhaps an abbreviation of probable or provable. 
Halliwell-Phillipps found the word in Sampson's Vow-Breaker, 
1636 : " Did not th' assurance of thy lands seeme probal ?" 

327. Inclining. Ready, favourably disposed. 

328. Fruitful. Bountiful, generous. Cf. Hen. VIII, i. 3. 56 : 
" A hand as fruitful as the land that feeds us." 

329. As the free elements. Out of which all things are produced. 
336. Parallel. Coinciding with his wish or purpose. 

338. Put on. Instigate. . Cf. ii. 1. 296 above. 

339. Suggest. Tempt ; as often. 

343. Pestilence. Poisonous suggestion. 

344. Repeals. Strives to restore him to his place ; literally, re- 
calls. 

35 1. Cry. Pack. Cf. Cor. iii. 3. 120 : " You common cry of curs ! " 

357. Patience. A trisyllable. 

363. Though other things, etc. " * Although our other plans are 
growing to maturity, yet the fruits of our scheme for the removal 
of Cassio, as it first bore promising blossom, will naturally first 
ripen.' Iago is trying to inspire Roderigo with patience for the 
ripening of his plan against Desdemona by bidding him remember 
that meanwhile his plan against Cassio is succeeding" (Clarke). 
Johnson explains the passage thus : " Of many different things, all 
planned with the same art and promoted with the same diligence, 
some must succeed sooner than others, by the order of nature. 
Everything cannot be done at once ; we must proceed by the 
necessary gradation. We are not to despair of slow events any 
more than of tardy fruits, while the causes are in regular progress, 
and the fruits grow fair against the sun." 

372. Apart. Aside. Cf. iv. 1. 68 below. 

373. Jump. Just, exactly. Cf. Ham. i. I. 65 : "jump ("just" 
in folio) at this dead hour ; " and Id. v. 2. 386 : " jump upon this 
bloody question." Cf. the use of the verb jump in i. 3. 5 above. 



Scene I] Notes 209 



ACT III 

Scene I. — 1. Content. Reward, pay. Cf. Rich, III. iii. 2. 113: 
" Come the next Sabbath, and I will content you," etc. 

2. Bid good morroiv. It was the custom for friends to serenade 
a new-married couple on the morning after their marriage, cr to 
bid them good i7iorrow by a morning song. Cf. Milton, VAIL 45 
(referring to the lark) : — 

"Then to come, in spite of sorrow, 
And at my window bid good morrow." 

4. Naples. " The Neapolitans have a singularly drawling nasal 
twang in the utterance of their dialect " (Clarke). 

22. Quillets. Quibbles, subtleties ; as in Ham. v. I. 94. 

28. Seem to. A colloquial periphrasis. Cf. M. N. D. iii. I. 19 : 
" let the prologue seem to say ; " M. of V. ii. 4. 1 1 : "it shall seem 
to signify," etc. 

29. Good 7ny friend. Cf. i. 3. 52 above : " Good your grace," 
etc. In happy time — just in time ; as often. 

35. Access. Accented by S. on the last syllable, except in Ham. 
ii. 1. no. 

36. Mean. Often used by S. in the singular, though oftener in 
the plural. Cf. W. T. iv. 4. 89, R. and J. iii. 3. 45, v. 3. 240, etc. 

37. Converse. Conversation; as in Ham. ii. 1. 42: "your party 
in converse," etc. S. accents it on the final syllable in the three 
instances in which he uses it. 

40. A Florentine. That is, even a Florentine. Iago was a 
Venetian; as is evident from iii. 3. 201, 202, and v. I. 89 fol. 

42. Your displeasure. That is, the displeasure you have incurred 
from Othello. 

46. Affinity. Family connection; used by S. only here. Whole- 
some — sound, reasonable. 

49. Safst. For the contraction, cf. cunning } st in v. 2. n. The 

OTHELLO — 14 



210 Notes [Act III : s 

line is found only in the quartos, which have " safest," but the 
editors with few exceptions print safest, superlatives being generally 
thus contracted by S. when the est would be an extra syllable in the 
measure. It is unnecessary and harsh, but it was the usage of the 
time. 

53. Desdemona. The folios have "Desdemon" here, as in five 
other passages. It is probably a mere transcriber's or printer's 
error. 

54. Bestozu you. Conduct you to a place. 

Scene III. — 12. Strangeness. Distant behaviour. Cf. V. and 
A. 310 : " She puts on outward strangeness, seems unkind," etc. 

14. That policy, etc. " He may either of himself think it politic 
to keep me out of office so long, or he may be satisfied with such 
slight reasons, or so many accidents may make him think my read- 
mission at that time improper, that I may be quite forgotten " 
(Johnson). 

19. Doubt. Suspect, fear; as often. 

20. Assure thee. Assure thyself, be assured. Cf. iv. 2. 199 
below. 

23. Watch him tame. Alluding to the practice of taming hawks 
by keeping them from sleep. Cf. T. and C. iii. 2. 46: "you must 
be watched ere you be made tame, must you ? " Steevens cites 
Cartwright, Lady Errant : — 

" we '11 keep you, 
As they do hawks, watching until you leave 
Your wildness ; " 

24. Shrift. Confessional. Cf. R. and J. ii. 4. 192, ii. 5. 68, etc. 
28. Give thy cause away. That is, give it up. 
47. His present reconciliation take. " Accept the submission 

which he makes in order to be reconciled" (Johnson). 

49. Cu?ming. "Knowledge, forethought" (Schmidt). Cf. T. 
and C. v. 5. 41 and T. of A. v. 4. 28. Cf. also the use of the 



Scene III] Notes 211 

adjective = knowing; as in T. of S. ii. I. 56: "Cunning in music 
and the mathematics," etc. 

52. Humbled. Probably a trisyllable. 

67. Check. Rebuke. See on i. I. 138 above. 

70. Mammering. Hesitating; used by S. nowhere else. Malone 
quotes Lyly, Euphues : " neither stand in a mamering, whether it 
be best to depart or not." 

71. That came, etc. See on i. 2. 52 above, and cf. 94 fol. below. 
77. As. As if ; a common ellipsis. For the omission of to with 

wear j see on ii. 3. 178 above. 

79. Peculiar. Private, one's own; as in iv. I. 63 below. 

82. Poise. Weight. Cf. Lear, ii, 1. 122: "Occasions, noble 
Gloster, of some poise," etc. 

90. Wretch. Sometimes used as a term of tenderness blended 
with pity. " It expresses the utmost degree of amiableness, joined 
with an idea which perhaps all tenderness includes, of feebleness, 
softness, and want of protection" (Johnson). Cf. R. and J. i. 3. 
44 : " The pretty wretch left crying," etc. 

113. Purse. Wrinkle. In M. of V. i. 3. 175 it means to put in 
a purse; and in A. and C. ii. 2. 192 pursed up — gained possession 
of. 

115. Conceit. Conception, idea. Cf. the use of the verb (= con- 
ceives, imagines) in 149 below. 

118. For. Because. See on i. 3. 268 above. 

123. Delations. The 1st quarto has "denotements"; the 1st 
folio and 2d and 3d quartos, " dilations." Close delations (suggested 
by Johnson) is explained as = " secret accusations, hidden intima- 
tions." Hart says that delations in this sense " is more recent than 
S. 's time " ; but the A r ew English Diet, gives an instance as early as 
1578, and also includes this passage under that head. The word 
is not found elsewhere in S. Sir Henry Wotton, in his Reliquice 
Wottoniance, 165 1, speaking of the Inquisitor i di Stati at Venice, 
says that they " receive all secret delations in matter of practice 
against the Republick." 



212 Notes [Act III I 

Working from the heart, etc. " Either ' working from the heart 
that cannot control its passion of generous indignation/ or ' working 
from the heart that passionate impulse cannot move to speak out 
unadvisedly ' " (Clarke). 

127. Seem none. That is, not seem honest men. Johnson 
makes it = " no longer seem, or bear the shape of men" 

130. Yet there 's more. There 's yet more. Yet and only are 
often thus misplaced by S. 

135. To that all slaves are free to. That is, to that which all 
slaves are free to do or not to do ; or we may say that free is = not 
bound. Cf. Cymb. v. 1. 7 : — 

" Every good servant does not all commands : 
No bond but to do just ones." 

139. But some uncleanly apprehensions, etc. "That some inju- 
rious suspicions will not occasionally enter into it, keep court there 
for judging others, and sit side by side, as on a law bench, with 
more legitimate meditations" (Clarke). Leets and law- days mean 
the same. Cf. Bullokar, English Expositor, 161 6: "A leet is a 
court or law-day, holden commonly every half year." On this 
passage cf. R.ofL. 853 : — 

" But no perfection is so absolute 
That some impurity doth not intrude.*' 

145. Though I perchance, etc. "Though I perhaps am mis- 
taken, led into an error by my natural disposition, which is apt to 
shape faults that have no existence" (Malone). Clarke believes 
that though is here = " inasmuch as, since ; " but this is not abso- 
lutely necessary. As he himself remarks, " the confused and 
imperfect construction in this speech is wonderfully managed, to 
give the effect of Iago's adoption of a hesitating, unwilling manner; 
half expressing, half suppressing his suggestions, and whetting his 
victim's anxiety to hear more by bidding him desire to hear no 
more." 

149. Conceits. See on 115 above. 



Scene III] Notes 2 1 3 

151. Scattering and unsure observance. Random and uncertain 
observation. Cf. T. N. ii. 3. 50 : " What 's to come is still unsure," 
etc. 

155. Good name, etc. Malone suggests that S. may have had in 
mind Proverbs, xxii. I. 

160. Not enriches. Cf. Temp. ii. I. 121 : " I not doubt; " Id. v. 
I. 3&: " Whereof the ewe not bites," etc. 

166. Green-eyed. Cf. M. of V. iii. 2. 1 10 : " green-eyed jealousy." 
Some editors change mock to " make," but I believe that S. wrote 
mock. Furness says : " The meat that jealousy feeds on is the 
victim of jealousy, the jealous man, who is mocked with trifles 
light as air." Cf. Hunter : " Jealousy mocks the person who sur- 
renders his mind to her influence, deluding him perpetually with 
some new show of suspicion, sporting with his agonized feelings, 
just as the feline tribe sport with the prey which they have got 
into their power. The cat is green-eyed." 

1 72. Poor and content, etc. Malone quotes Dorastus and Fawnia 
(the novel on which W. T. is founded), 1592: "We are rich, in 
that we are poor with content." 

173. Fine/ess. Infinite, boundless; the only instance of the word 
in S. For fine = end, see Ham. ii. 2. 69, iv. 7. 134, v. 2. 15, etc. 

180. Resolved. " Freed from uncertainty " (Furness). 

182. Exsufflicate. Empty, unsubstantial, frivolous. The word 
is found nowhere else, and was probably coined by S. 

1 S^. Matching thy inference. That is, such as you have described 
(in 169, 170 above). S. uses inference only here. 

186. Where virtue is, etc. " An action in itself indifferent grows 
virtuous by its end and application " (Johnson). 

188. Doubt. Suspicion; as in 417 below: "a shrewd doubt," 
etc. Revolt is often used of inconstancy in love; as in K. John, iii. 
I. 322, R. and J. iv. 1. 58, Cymb. i. 6. 112, iii. 4. 57, etc. 

200. Self-bounty. Inherent generosity. 

206. She did deceive her father, etc. " This and the following 
argument of Iago ought to be deeply impressed on every reader. 



214 Notes [Act in 

Deceit and falsehood, whatever conveniences they may for a time 
promise or produce, are in the sum of life obstacles to happiness. 
Those who profit by the cheat distrust the deceiver, and the act by 
which kindness is sought puts an end to confidence" (Johnson). 
Cf. Clarke's note on And so she did : "In this little speech of four 
monosyllabic words is contained the moral of Desdemona's fate. 
Had Othello been able to refute as a foul calumny this insinuated 
truth of Iago's, the villain's scheme must have come to naught at 
once. But, unhappily, Desdemona's timidity has led her to con- 
ceal from her father her love for the Moor by affecting to dread 
him; and this former deviation from strict honesty is now enabling 
a traitor to undermine her husband's faith in her honour." 

210. Seel. See on i. 3. 269 above. Close as oak — close as the 
grain of oak. 

211. Much to blame. The folio has "much too blame," as in 
282 below. Furness says : " This phrase too blame is so common, 
not only in the folio, but in other Elizabethan authors, that Abbott 
suggests that perhaps blame was considered an adjective, and that 
too may have been used, as in Early English, for excessively. Even 
in modern editions, it seems to me, this too should be retained." 

212. Beseech you of your pardon. Cf. M. N. D. iii. 1. 185: "I 
shall desire you of more acquaintance; " Hen. V. iii. 3. 45 : "whom 
of succours we entreated; " Spenser, F. Q. ii. 9. 42: "If it be I, 
of pardon I you pray," etc. 

219. Issues. Conclusions. On reach, cf. T. and C. iv. 4. 1 10 : — 

" the moral of my wit 
Is ' plain and true ; ' there 's all the reach of it." 

222. Success. Consequence; that which succeeds or follows. Cf. 
" bad success " in 3 Hen. VI. ii. 2. 46 and T. and C. ii. 2. 117. 

227. Erring. Straying, wandering See i. 3. 356 above : " an 
erring barbarian; " and cf. i. 3. 62, 100. 

230. Complexion. Alluding to the fair skin of Desdemona in 
contrast with the dark Moorish skin of Othello, and perhaps also, 



Scene in] Notes 215 

as Clarke suggests, to the temperament of the Italians in comparison 
with that of the Moors. For complexion = temperament, disposi- 
tion, see M. of V. iii. 1. 32, Ham. i. 4. 27, etc. 

232. Rank. Morbid. Johnson says : " A rank will is self-will 
overgrown and exuberant." Such refers to what precedes, not to 
will. 

234. Positio?t. Positive assertion. Cf. ii. 1. 235 above, and 
T. and C. iii. 3. 112. 

236. Recoiling to her belter judgment. Schmidt and Hart make 
recoiling = going back, reverting. Herford explains recoiling to as 
" slipping from the control of." But recoil is sometimes used by S. 
in the sense of " degenerate; " as in Macb. iv. 3. 19 and Cymb. i. 6. 
128; and perhaps that is the meaning here, to being = in respect 
to — though we should expect from, as in Cymb. 

237. Fall to. Come to, begin. Cf. Ha?n. v. 2. 216 : " before you 
fall to play," etc. Match — compare ; as in T. and C. i. 3. 194 
and R. and J. ii. prol. 4. 

238. Happily. Haply; as often. 

240. Set on thy zvife, etc. " In this brief speech of Othello's the 
dramatist has wonderfully combined the native nobleness of the 
speaker with the meanness inevitably supervening from jealousy. 
The nature of the man revolts from having the probabilities of his 
chosen wife's fall discussed by the gross lips of Iago, and he abruptly 
dismisses him; but the vitiating poison of jealousy having once 
been instilled, the moral dignity that has already taken one step in 
degradation condescends to desire him to watch, and to set on his 
wife to observe'''' (Clarke). 

249. His means. That is, " whether he thinks his best means, 
his most powerful interest, is by the solicitation of your lady " 
(Johnson). 

250. Strain his entertainment. Urge his reinstatement; "press 
hard his readmission to his office" (Johnson). For entertainment 
as a military term (= service), cf. A. W. iii. 6. 13, iv. 1. 17, Cor. iv. 
3. 49, and A. and C. iv. 6. 16. 



216 Notes [Act in 

255. Free. Free from guilt; as in W. T. i. 2. 251, Ham. ii. 2. 
590, etc. 

256. Government. Self-control; as mR.ofL. 1400, 1 Hen. IV. 
i. 2. 31, iii. 1. 184, etc. 

259. Learned. Experienced. 

260. Haggard, A haggard was a wild, untrained hawk. Cf. 
Much Ado, iii. 1. 36, T. of S. iv. 1. 196, iv. 2. 39, etc. S. uses the 
word adjectively nowhere else. 

261. Jesses. Leathern or silken straps attached to the foot of 
the hawk, by which the falconer held her. Cf. Spenser, F. Q. 
vi. 4. 19: — 

11 That like an Hauke, which feeling her selfe freed 
From bels and jesses which did let her flight " 

(where let = hinder) . Hart says that this passage from Spenser 
is " particularly unhappily referred to here " (in my former ed.), 
because the jesses were still " buttoned about the hawk's leg " when 
she was set free. I quoted it simply as an illustration of the word 
Jesses; but, aside from that, it is pertinent enough. The Century 
Diet, says that the jess was "continually worn, and the leash, when 
used, is secured to this ; but the term jess must be taken to include 
a short thong with a ring at the end, which is rather the leash and 
varvel of ancient falconry than the jess proper. This is the heraldic 
sense of the term." The present passage is added as an illustra- 
tion, and also the following from Marlowe, Edward II, ii. 2 : — 

" Soar ye ne'er so high, 
I have the jesses that will pull you down." 

In the present passage the word is evidently used in this sense. S. 
uses the word only here. 

262. Let her down the wind. " The falconers always let the 
hawk fly against the wind; if she flies with the wind behind her, 
she seldom returns. If therefore a hawk was for any reason to be 
dismissed, she was let down the zvind, and from that time shifted for 
herself and preyed at fortune " (Johnson). 



Scene III] Notes 217 

263. For. Because. See on i. 3. 268 above. Black is not to 
be taken too literally. It is often opposed to fair. Cf. T. G. of 
V.\. 2. 12: "Black men are pearls in beauteous ladies' eyes." 
See also Much Ado> iii. I. 63, etc. 

264. Parts. Gifts. Cf. i. 3. 253 above. 

265. Chamberers. "Men of intrigue " (Steevens). Cf. Romans, 
xiii. 13. 

268. Marriage. A trisyllable. 

274. Prerogative. " Privileged, exempt from certain evils " 
(Schmidt). 

276. This forked plague. The horns of the cuckold. Cf. W. 
T. i. 2. 186 and T. and C. i. 2. 178. The expression is used in the 
same sense by Sir John Harrington in one of his epigrams. 

277. Quicken. That is, begin to live. Cf. iv. 2. 66 below: 
" That quicken even with blowing," etc. 

280. Generous. Noble ; as in M. for M. iv. 6. 13 : " The gener- 
ous and gravest citizens;" Ham. i. 3. 74: "most select and 
generous," etc. Cf. the Latin generosus. 

281. Attend. Await. Cf. M. W.i.i. 279 : "The dinner attends 
you, sir," etc. 

287. Napkin. Handkerchief; the only meaning in S. Cf. 
366 below. 

292. A hundred times. This is apparently inconsistent with 
the brief time that has elapsed since the beginning of the drama ; 
but it is really an illustration of what Furness {Hajnlet, vol. i. xv.) 
calls the poet's " two series of times, the one suggestive and illu- 
sory, and the other visible and explicitly indicated." Halpin calls 
them the protractive series and the accelerating series ; and Chris- 
topher North describes them as Shakespeare's " two clocks." 
Clarke remarks here : " In hardly any play is our dramatist's system 
of simultaneously indicated long time and short time more visibly 
and skilfully sustained than in Othello. He had to give the brief 
effect of recent marriage, consequent upon the elopement and 
secret espousals which occur in the opening of the play; and he 



2 1 8 Notes [Act in 

had also to give the lengthened effect of conjugal union, in order 
to add to the tragic impression of broken wedded faith and 
destroyed wedded happiness. To produce the former effect, he 
has made but one night elapse since the arrival of the wedded pair 
in Cyprus and the celebration of their nuptials ; to produce the 
latter effect, he throws in occasional touches that indicate a longer 
period." 

295. Reserves. Preserves, keeps. Cf. Sonn. 32. 7 : " Reserve 
them for my love, not for their rhyme," etc. 

296. Ta'en out. Copied; as in iii. 4. 179, iv. I. 144 fol. below. 
Cf. Holland's Pliny: "Nicophanes [a famous painter] gave his 
mind wholly to antique pictures, partly to exemplifie and take out 
their patterns ; " and Middleton, Women Beware, etc. : — 

"she intends 
To take out other works in a new sampler." 

299. Fantasy. Fancy, whim; as in Ham. iv. 4, 61, etc. 

312. To the advantage. Opportunely (Johnson). 

313. Wench. Cf. v. 2. 270 below. The word, in the time of 
S., was " not always used in a bad sense, as at present, but as a 
familiar expression, in any variation of tone between tenderness 
and contempt" (Schmidt). 

315. {^Snatching it.~] The stage-direction was inserted by Rowe. 
It is not absolutely necessary, but by the practice of the stage it 
has become " a part of the action of the play and unassailable " 
(Hart). 

316. Import. Importance; as in T. of S. iii. 2. 104, 1 Hen. VI 
i. 1. 91, etc. 

318. lack. Miss. Cf. Macb. iii. 4. 84, etc. 

319. Acknown. The meaning is, " do not confess to the knowl- 
edge of it." Cf. Puttenham, Arte of English Poesie, 1589: "so 
would I not have a translatour be ashamed to be acknowen of his 
translation." In the Life of Ariosto appended to Sir John Harring- 
ton's Orlando Furioso } we read : " Some say he was married to her 



Scene III] Notes 2 1 9 

privilie, but durst not be acknowne of it." S. uses the word 
nowhere else. 

326. Conceits. Conceptions. See on 115 above. 

327. Distaste. To be distasteful or unsavoury. Cf. T. and C. 
iv. 4. 50 : " Distasting with the salt of broken tears." It is used 
transitively (= embitter) in T. and C. ii. 2. 123: "Cannot distaste 
the goodness ; " and ( = dislike) in Id. ii. 2. 66 : " Although my 
will distaste what it elected." 

328. Act. Action, operation; as in i. 1. 62 above. 

329. I did say so. Referring to what he has just said. He sees 
by Othello's looks that the " poison " is burning his blood. 

330. Mandragora. Mandrake. A powerful soporific, obtained 
from the mandrake {Mandragora officinalis} . Cf. A. and C. i. 5. 
4 fol. The forked root of this plant was thought to resemble the 
human body, and to cause madness and even death w 7 hen pulled 
from the ground. See 2 Hen. VI. iii. 2. 310 and R. and J. iv. 

3-47- 

331. Syrups. Used by S. only here and in C. of E. v. I. 104: 
" With wholesome syrups, drugs, and holy prayers." Drowsy = 
soporific. 

332. Medicine. Used again as a verb in Cymb. iv. 2. 243 : 
" Great griefs, I see, medicine the less." 

333. Ow'dst. Ownedst, badst; as in i. 1. 66 above. 

336. Abused. Deceived. Cf. i. 3. 392 above and iv. 2. 138 below. 
340. The next night. Indication of long time; as if many 
nights had elapsed. 

346. Pioners. The word is here = the vilest of the camp. 
Pioneers were generally degraded soldiers, appointed to that office 
as a punishment. Cf. Davies, The Art of War, 1619 : " Such a one 
is to be dismissed with punishment, or to be made some abject 
pioner." Cf. Ha?n. i. 5. 163. 

347. So. Provided that, if; as often. 

350. That make ambition virtue. Hart quotes A. and C. iii. 
i. 22 : " ambition, the soldier's virtue." 



220 Notes [Act III 

352. The ear-piercing fife, Cf. M, of V, ii. 5. 30: — 

" when you hear the drum 
And the vile squealing of the wry-neck'd fife ; " 

According to Warton, the fife and drum were used together in 
the European armies, especially in the German, as early as the first 
quarter of the 16th century. The fife was subsequently given up in 
the English service, and we find no mention of it until 1747, when 
it was used by the order of the Duke of Cumberland in the camp 
at Maestricht. 

354. Circumstance, Formal display. S. uses the singular and 
the plural indifferently. Cf. R. of L, 1262 and 1703, etc. 

355. Whose rude throats, Cf. Milton, P. L, vi. 586: "From 
those deep-throated engines belch'd, whose roar," etc. 

356. Clamours. Applied by S. to the sound of cannon (K. John, 
ii. I. 383), of drums and trumpets {Id. v. 2. 168), of tempests (2 
Hen, IV, iii. 1. 24, T. and C, v. 2. 174), etc. Mortal — deadly ; 
as in ii. 1. 72. 

362. Hadst been better have been. This construction, now re- 
garded as ungrammatical, is not uncommon in Elizabethan English. 
Cf. Much Ado, ii. 1. 261, Ham. v. I. 268, etc. 

365. Probation. Proof ; as the context shows. Cf. Ham. i. I. 

i 5 6 : - 

" and of the truth herein 
This present object made probation," etc. 

369. Remorse, Pity, compunction; as often. Cf. 456 below. 
371. Do deeds, etc. Cf. M, for M. ii. 2. 121 : — 

" Plays such fantastic tricks before high heaven 
As make the angels weep." 

379. This profit. This good lesson (Schmidt). Cf. Cymb. iii. 

3- 18:- 

" to apprehend thus 

Draws us a profit from all things we see." 



Scene III] Notes 221 

380. Sith. Since; as in Ham. ii. 2. 6, etc. 

381. Shouldst. Cf. Macb. i. 2. 46: "You should be women; 
And yet your beards," etc. Iago plays upon the word in his reply. 

384. Be . . . is. The change from the subjunctive to the indica- 
tive is very significant. 

386. Her na?ne. The reading of 2d and 3d quartos; the folios 
have " My name," which some defend. See p. 253, footnote. 

398. Living. "That has the life of truth and fact in it, not 
founded on mere surmise " (Clarke). 

401. Prick d. Spurred, incited. Cf. T. of S. iii. 2. 75, Rich. II. 
ii. 1. 207, etc. 

406. Sleeps. Cf. Ham. iv. 7. 30 : " Break not your sleeps for 
that," etc. The plural is often thus used when more than one per- 
son or one instance is referred to. 

414. Cursed fate, etc. "The effect of long time is conveyed 
throughout this speech" (Clarke). 

416. Conclusion. Experience; that from which a conclusion can 
be drawn. 

417. A shrewd doubt. Ground for evil suspicion. For doubt, see 
on 188 above. Shrewd originally meant bad or evil; as in M. of 
V. iii. 2. 246, K. John, v. 7. 14, etc. 

420. Yet. As yet. See on 130 above. 

433. Fond. Foolish. See on i. 3. 318 above. 

435. The hollow hell. The folio reading; the quartos have "thy 
hollow cell," which most editors prefer; but apparently hell was 
intended to be antithetical to the preceding heaven. Cf. Milton, 
P. L. i. 314: — 

" He call'd so loud that all the hollow deep 
Of hell resounded ; " 

and Id. i. 542: "A shout that tore hell's concave." 

436. Hearted. See on i. 3. 366 above. Hearted throne — "the 
heart on which thou wast enthroned" (Johnson). Cf. T. N. ii. 4. 
22: — 



222 Notes [Act HI 

" It gives a very echo to the seat 
Where Love is thron'd." 

437. Fraught. Freight, load. It is used literally in T. jW.v. i. 
64: "the Phoenix and her fraught from Candy; " and T. A. i. I. 
71: "the bark that hath discharg'd her fraught." Cf. fraugktage 
in C. of E. iv. 1. 87 and T. and C. prol. 13. 

438. Aspics 1 . Asps'. Cf. A. and C. v. 2. 296, 354, etc. 

441. The Pontic sea, etc. Steevens suggests that S. took the 
simile from Holland's Pliny : " And the sea Pontus ever more flow- 
eth and runneth out into Propontis, but the sea never retireth backe 
againe within Pontus." The Propontis, or Propontic, is the Sea of 
Marmora; the Pontic is the Black Sea. 

442. Compulsive. Used again in Ham. iii. 4. 86. Cf.compulsa- 
tive in Ham. i. 1. 103. 

447. Capable. Capacious, ample; the only instance of this sense 
in S. 

448. Marble. Probably = everlasting (Schmidt). Cf. Cymb. v. 
4. Sy : "Peep through thy marble mansion; " Id. v. 4. 120: "The 
marble pavement closes; " and T. of A. iv. 3. 191 : "the marbled 
mansion all above." Furness suggests that the word in these pas- 
sages " refers to colour, aglow with lacing streaks, and not to tex- 
ture or substance." 

450. Engage. Pledge. Cf. A. KZ.T.J. 172: "I do engage 
my life," etc. 

451. Witness, etc. This apostrophe indicates that S. intended 
the scene to be in the open air. 

452. Clip. Embrace, surround. Cf. K. John, v. 2. 34 : "Nep- 
tune's arms, who clippeth thee about; " Cymb. ii. 3. 139: — 

" His meanest garment, 
That ever hath but clipp'd his body," etc. 

454. Execution. Exercise, employment. Cf. 3 Hen. VI. ii. 3. 
in: " The execution of my big-swoln heart," etc. Cf. the use of 



Scene IV] Notes 223 

execute in T. and C. v. 7. 6: "In fellest manner execute your 
arms," etc. 

456. Remorse, Pity; as in 369 above. "It shall be an act, not 
of cruelty, but of tenderness to obey him ; not of malice to others, 
but of tenderness for him" (Johnson). It may, however, mean 
" conscience," as Schmidt explains it. 

463. Minx. Hussy, wanton; as in iv. 1. 147 below. S. uses it 
elsewhere only in T. N. iii. 4. 133, where it suggests rather pert- 
ness, as nowadays. 

Scene IV. — 2. Lies. Lodges, resides. Cf. T. G. of V. iv. 2. 
137: "Where lies Sir Proteus ?" 2 Hen. IV. iii. 2. 299: "when I 
lay at Clement's inn," etc. See also Milton, L All. 79 : " Where 
perhaps some beauty lies," etc. This old use of the word occurs 
rather quaintly in Holinshed, who says of Edward Balliol after his 
expulsion from Scotland : " After this he went and laie a time with 
the Lady of Gines, that was his kinswoman." For the play on lie, 
cf. Ham. v. I. 116. 

17. By the?7i answer. That is, by them be enabled to answer, or 
get the information to use in my answer. 

23. Should. Could; as often. Cf. Hen. VIII, iii. 2. 160: 
"What should this mean ?" For handkerchief the, 1st quarto has 
" handkercher," which occurs in some other places in the old eds. 
It indicates the pronunciation of the time. 

25. Had rather. See on i. 3. 191 above. 

26. Crusadoes. Portuguese gold coins current in England in the 
time of S. They were so called from the cross stamped upon them. 

38. Fruitfulness. Liberality, generosity. Cf. fruitful in ii. 3. 
328 above. 

40. Sequester. Sequestration, separation; the only instance of 
the noun in S. For the verb, see A. Y. L. ii. 1. ^3j etc - 

41. Exercise. Performance of religious duties. Cf. W. T. iii. 
2. 242, Rich. III. iii. 2. 1 12, iii. 7. 64, etc. 

47. Our new heraldry, etc. This was thought by Warburton, 



224 Notes [Act in 

Douce, and others to refer to the arms of the order of baronets, 
instituted by King James in 1611; but if the passage contains any 
such allusion, it must have been inserted some years after the play 
was written. It is probably only a figurative expression, without 
the least reference to King James's creation of baronets. 

49. Chuck. Equivalent to chick, and often used as a term of 
endearment. 

51. Sorry. Sore, painful; not elsewhere used by S. of a mere 
bodily ailment. 

56. An Egyptian. Probably a gypsy. 

57. Charmer. Enchantress; the only instance of the word in S. 
Cf. Deuterono?ny, xviii. 1 1 : " Let none be found among you that is 
a charmer." 

59. Amiable. Lovable; as in M. N. D. iv. I. 2, K. John, ii. 4. 
25, etc. 

64. Wive. See on ii. 1. 60 above. 

65. Her. The antecedent is implied in wive* 

70. A sibyl, etc. Cf. T. of S. i. 2. 70: "As old as Sibyl; " and 
M. of V. I. 2. 116: "as old as Sibylla." Had numbered, etc. = 
" numbered the sun to course, to run two hundred compasses, two 
hundred annual circuits" (Johnson). 

74. Dyed in mummy. The balsamic liquor that oozed from 
mummies was supposed to have medicinal properties. Steevens 
says that in his day it was still sold in the principal apothecaries' 
shops. 

75. Conserved. Prepared as a conserve; the only instance of 
this sense in S. 

79. Startlingly. Abruptly; used by S. only here. Rash — 
rashly = vehemently, violently (Johnson). Cf. M. for M. v. I. 36 : 
" most bitterly and strange," etc. 

92. Talk me. Cf. T. of S. i. 2. 190 : " No, say'st me so, friend? " 
etc. See on i. 1. 49 above. 

102. ' T is not, etc. This, like / ne^er saw this before just above, 
helps to give the effect of long time. 



Scene IV] Notes 225 

104. Hungerly. Hungrily. Cf. T. of A. i. 1. 262: "I feed 
Most hungerly on your sight." It is an adjective in T. of S. iii. 2. 
177. 

107. Happiness. Good luck. Importune is regularly accented 
on the second syllable in S. 

no. Virtuous. Powerful; as in M. N. D. iii. 2. 267: "this 
virtuous property." 

118. My benefit. An act of kindness to me. 

120. Shut myself tip in. S. elsewhere uses shut up in — confine. 
Cf. T. and C. i. 3. 58, T. of A. iv. 3. 279, and Macb. ii. 1. 16. The 
meaning here seems to be, " confine myself to some other course, 
awaiting whatever fortune may bestow upon me." 

122. Advocation. Advocacy, pleading; used by S. only here. 

123. Nor should I know him, etc. Cf./. C. ii. I. 253: — 

" And, could it work so much upon your shape 
As it hath much prevail'd on your condition, 
I should not know you, Brutus." 

124. Favour. Aspect, personal appearance; as in i. 3. 341 
above. 

127. Within the blank, etc. "Within the shot of his anger " 
(Johnson). Cf. Ham. iv. I. 42: "As level as the cannon to his 
blank (target)." 

136. Puff'd his own brother. "And yet he was cool and un- 
ruffled" is understood (Malone). 

140. UnhatcKd practice. Undeveloped treason. For unhatch'd, 
cf. Ham. i. 3. 65; and for practice — plotting, see v. 2. 291 below. 

141. Demonstrable. Used by S. only here; accented on the 
first syllable. 

142. Puddled. "Muddied" (Ham. iv. 5. 81), disturbed, or the 
Yankee "riled." Cf. C. of E. v. I. 173: "pails of puddled mire." 

145. // indues, etc. " It imparts to the other limbs the faculty 
of feeling the same pain " (Schmidt). Cf. Ham. iv. 7. 180: "na- 
tive and indued Unto that element." 
othello — 15 



226 Notes [Act iv 

148. Observancy. Devotion, homage; used by S. only here. 
For observance in the same sense, see M. W. ii, 2. 203 : " a doting 
observance; " A. Y. L. v. 2. 102: "duty and observance," etc. 

149. As fits, etc. Another suggestion of "long time." Beshrew 
is a common but mild imprecation. 

150. Unhandsome warrior. "Unfair assailant" (Johnson). 
"A lovely reminiscence of her husband's calling her my fair zvar- 
rior in the joy of his first meeting with her on arrival " (Clarke). 
See ii. 1. 180 above. 

I 55* Toy. Whim, fancy. See on i. 3. 268 above. 

160. For. Because. See on i. 3. 268 above. 

168. Make. Do. See on i. 2. 49 above. 

177. Continuate. Uninterrupted, unbroken by other business. 
Cf. T. of A. i. I. II: "continuate goodness." 

179. Take out. Copy (cf. 189 just below). See on hi. 3. 296 
above. 

193. Addition. Credit. Woman' d= accompanied by a woman. 
Cf. A. W. iii. 2. 53 : " woman me unto 't." 

196. Bring me, etc. Accompany me; as in Hen. V. ii. 3. 2. 
Cf. Genesis, xviii. 16, Acts, xxi. 5, etc. 

200. Circumstanced. That is, I must yield to circumstances. 



ACT IV 



Scene. I. — 2. Unauthorized. So authorize is accented by S. 
on the penult. 

3. Against the devil. Johnson makes this = " to cheat the devil, 
by giving him flattering hopes, and at last avoiding the crime which 
he thinks them ready to commit." 

5. The devil, etc. " The devil tempts their virtue by stirring up 
their passions, and they tempt heaven by placing themselves in such 



Scene ij Notes 227 

a situation as makes it scarcely possible to avoid falling by the grati- 
fication of them " (Henley). Cf. Matthew, iv. 7. 

18. The raven. It was believed that the raven hovered near a 
house in which sickness or infection existed. Cf. Marlowe, Jew of 
Malta, ii. 1 : — 

" Thus, like the sad presaging raven, that tolls 
The sick man's passport in her hollow beak, 
And in the shadow of the silent night 
Does shake contagion from her sable wings." 

24. Dotage of. Doting upon, doting affection for. Cf. M. N. D. 
iv. 1. 52. 

25. Supplied. " Gratified the desire of" (Schmidt). Cf. M.for 
M.v. 1. 212. 

31. To confess, and be hanged. An old proverb. Cf. T. of A. 
i. 2. 22: "Ho, ho! confess'd it! hang'd it, have you not?" and 
Marlowe, Jew of Malta : " Blame us not, but the proverb — Confess, 
and be hang'd." 

34. Shadowing. " Full of shapes and images of things " 
(Schmidt). Johnson explains the passage thus: "This passion, 
which spreads its clouds over me, is the effect of some agency 
more than the operation of words; it is one of those notices which 
men have of unseen calamities." Sir J. Reynolds says: "Othello 
alludes only to Cassio's dream, which had been invented and told 
him by Iago." 

35. Noses, ears, and lips. Steevens compares W. T. i. 2.285: — 

" Is whispering nothing? 
Is leaning cheek to cheek? is meeting noses? 
Kissing with inside lip? " etc. 

45. He had one yesterday. Iago is a liar, and may lie here; but, 
as Clarke remarks, it helps to give the effect of " long time." 

47. His. Its; as often. See on i. 3. 96 above. 

48. By and by. Presently. See on ii. 3. 293 above. 



228 Notes [Act iv 

56. A horned man. A cuckold. Cf. Much Ado, i. 1. 266, ii. 1. 
47, v. 1. 184, v. 4. 44, etc. See on iii. 3. 276 above. 
58. Civil. Civilized. Cf. Cymb. iii. 6. 23 : — 

" Ho, who *s here? 
If any thing that 's civil, speak ; if savage, 
Take or lend." 

62. Unproper. Not exclusively their own; with perhaps a play 
on the other sense. Cf. proper — one's own, in i. 3. 69 above. 
S. uses unproper only here, improper ( = not becoming) only, in 
Lear, v. 3. 221. 

63. Peculiar. Private, one's own; as in i. 1. 60 and iii. 3. 79 
above. 

64. The spite of hell. Schmidt makes spite = " mortification, 
vexation" (cf. V. and A. 1133); but it seems rather = malice. 
The spite of hell is explained by the fiend's arch-mock. The man is 
not mortified^ for he does not know his disgrace. 

65. Secure. Free from care or suspicion (Latin securus). See 
Ham. i. 5. 61. For lip = kiss, cf. A. and C. ii. 5. 30. 

69. In a patient list. Within the bounds of patience. For list 
= boundary, see Ham. iv. 5. 99. 

72. Shifted him away. Contrived to get rid of him. Cf. Macb. 
ii. 3. 151 : — 

" And let us not be dainty of leave-taking, 
But shift away " 

(that is, contrive to get away). 

73. Ecstasy. Here = swoon ; elsewhere = any state of being 
beside one's self (rapture, madness, etc.). Cf. Ha?n. iii. 1. 168, etc. 

75. Encave. Conceal ; used by S. only here. 

76. Fleers. Mocks ; the only instance of the noun in S. For 
the verb, see Much Ado, v. 1. 58, etc. Scorns — expressions of 
scorn. Cf. 1 Hen. VI. i. 4. 39 : " With scoffs, and scorns, and con- 
tumelious taunts," etc. 



Scene I] Notes 229 

77. Region. Part. Cf. Hen. VIII ii. 4. 184: "The region of 
my breast ; " and Lear, i. 1. 147: "The region of my heart." 

80. He hath, and is again to cope. He hath met and is again to 
meet. Similar ellipses are not rare in S. For cope = meet, en- 
counter, see A. Y. L. ii. 1. 67. 

82. All in all in spleen. Wholly given up to anger. Cf. 1 
Hen. TV. v. 2. 19 : "A hair-brain'd Hotspur, govern'd by a spleen." 

%Z. Housewife. Hussy. See on ii. 1. m above. 

89. It is. Used contemptuously; as in R. and J. iv. 2. 14, etc. 
See on ii. 1. 30 above. 

95. Unbookish. Ignorant, unskilled ; used by S. only here. 

98. Worser. Cf. i. I. 93 above. Addition — title ; as often. 
Cf. Macb. i. 3. 106, etc. 

102. Caitiff. Formerly used of both sexes. Cf. A. W. iii. 2. 
117: "I [Helena] am the caitiff that do hold him to it ; " Rich. III. 
iv. 4. 100: "For queen, a very caitiff crown'd with care," etc. 
Here the word is used half playfully, half fondly ; like fool, wretch 
(iii. 3. 90 above), etc. 

108. Well said. Well done. See on ii. 1. 166 above. 

112. Do you triiwiph, Roman ? Roman is ironical, suggested 
by triumph. 

113. Customer. A harlot (cf. 88 above) ; as in A. W. v. 3. 287 : 
"some common customer." 

1 14. Bear some charity. As we still say " bear malice," " bear 
ill-will," etc. Cf. Hen. VIII. iii. I. 63: "Zeal and obedience he 
still bore your grace," etc. 

120. Scored me. Johnson (so Schmidt) explains this as = "made 
my reckoning, settled the term of my life ; " Steevens and Clarke 
take it to mean " branded me," which is more likely to be the 
meaning. 

1 26. The other day. A " long-time " hint. 

130. Bauble. Contemptuously = plaything'; or perhaps = fool. 
The fool's club or staff was called a bauble; as in A. W. iv. 5. 32 
and R. and J. ii. 4. 97. For me, cf. i. 1. 49 above. 



230 Notes [Act iv 

135. Hales. Hauls, draws. See Much Ado, ii. 3. 62, etc. 

138. Before me ! Cf. T. N. ii. 3. 194 and Cor. i. 1. 124. 

139. Fitchew. Literally, pole-cat ; here used contemptuously. 
Cf. T. and C. v. 1. 67 and Lear, iv. 6. 124. For the idiomatic use 
of such another, cf. M. W. i. 4. 160, T. and C. i. 2. 282, 296, etc. 

142. The devil and his dam. Cf. ^f. ^. i. I. 151, iv. 5. 108, 
C. of E. iv. 3. 51, T. of S. i. 1. 106, etc. 

148. Hobby-horse. For the contemptuous use of the word, cf. 
Much Ado, iii. 2. 76. It was applied to both sexes. 

162. Very fain. We should not use this expression now, though 
we say "very gladly," etc. 

1 73. A-killing. We still use this old construction colloquially ; 
as in going a-fishing, etc. 

177. To-night. "It is this necessity for prompt vengeance on 
the part of Othello that makes the dramatist throw in occasional 
touches of short time " (Clarke). 

178. It hurts my hand. Steevens quotes A. and C. iv. 9. 16: — 

11 throw my heart 
Against the flint and hardness of my fault, 
Which, being dried with grief, will break to powder," etc. 

181. That 's not your zvay. That is, you should not think of her 
excellences instead of her faults. 

184. She will sing, etc. Cf. V. and A. 1096: — 

"To recreate himself when he hath sung, 
The tiger would be tame and gently hear him." 

185. Invention. Mental activity in general (Schmidt). 
188. Condition. Disposition. See on ii. I. 249 above. 

193. Patent. Privilege, formal permission. Malone compares 
Edward III. 1596 : " Why then give sin a passport to offend." 

201. Unprovide. Unfit, deprive of resolution; used by S. only 
here. 



Scene I] Notes 23 1 

206. Let me be his undertaker. Let me take care of him. Un- 
dertaker occurs again in T. N. iii. 4. 349, where it is = a meddler, 
or one who undertakes other people's business. 

"212. With all my heart. The phrase is used both as a reply to 
a salutation ( = I thank you with all my heart) and as a salutation 
(=1 greet you with all my heart). For an example of the former, 
see Lear, iv. 6. 32 ; and for one of the latter, T. of A. iii. 6. 27. 

228. Atone them. Bring them at one, reconcile them. Cf. 
Rich. LI. i. 1. 202: "Since we cannot atone you," etc. 

232. Deputing. Substituting ; as in iv. 2. 222 below. 

234. L am glad, etc. The speech is probably ironical. 

240. Lf that, etc. " If woman's tears could impregnate the earth. 
By the doctrine of equivocal generation, new animals were sup- 
posed producible by new combinations of matter" (Johnson). For 
teem, cf. Macb. iv. 3. 176, etc. 

241. Falls. Lets fall ; as often. Cf. R. of L. 155 1 : " every tear 
he falls," etc. For the allusion to the crocodile, cf. Bullokar, Eng- 
lish Expositor : " It is written that he will weep over a man's head 
when he hath devoured the body, and then will eat up the head 
too. Wherefore in Latin there is a proverbe, crocodili lachrymce, 
crocodile's tears, to signifie such tears as are fained, and spent only 
with intent to deceive, or doe harm." According to the same 
writer, a dead crocodile, " but in perfect forme," about nine feet 
long, had been exhibited in London in the poet's time. 

264. Safe. Sound. Cf. J. C. i. 1. 14: " a safe conscience," etc. 

265. Censure. Opinion, judgment ; as in ii. 3. 181 above. See 
another example in the preface to the 1st quarto, quoted on p. 10. 

269. Use. Custom, habit. Cf. M. of V. iv. 1. 268: "it is still 
her use;" Ham. iii. 4. 168: "For use almost can change the 
stamp of nature," etc. 

271. New-create. For the compound, cf. Temp. i. 2. 81 and 
Heft. VLIL. v. 5. 42. The hyphen is not in the early eds. 

272. Honesty. What is becoming or proper. Cf. Ham. ii. 2. 
204 : " I hold it not honesty to have it thus set down," etc. 



232 Notes [Act iv 

Scene II. — 2. Nor ever heard, etc. A suggestion of " long 
time." 

3. And she. Cf. A. and C. iii. 13. 98 : " So saucy with the hand 
of she here ; " T. and C. ii. 3. 25 : " Praise him that got thee, she 
that gave thee suck," etc. 

12. Durst to wager. See on ii. 3. 178 above. 

13. Other. Adverbial = otherwise. Cf. 167 below, and A. W. 
iii. 6. 27 : " Suppose no other," etc. 

14. Remove. Banish, put away. Cf. R. of L. 243 : "My will is 
strong, past reason's weak removing;" Id. 614: "thy will re- 
move," etc. 

16. The serpen? s curse. Cf. Genesis, iii. 14. 

29. Mystery. Like function in 27 = trade, occupation. Cf. 
M.forM.'w. 2. 30 fol. and T. of A. iv. 1. 18. "Othello taunts 
Emilia with having made a traffic in connivance at stolen meetings 
between Cassio and Desdemona, and now bids her give a specimen 
of proficiency in her vocation ; afterwards following up his insult 
by flinging her money for her ' pains ' " (Clarke). 

41. The heavy day ! Cf. v. 2. 97 below. 

47. They. For heavefi as a plural (= the heavenly powers), cf. 
Rich. II. i. 2. 6, Macb. ii. I. 4, and Ham. iii. 4. 173. 

53, 54. A fixed figure, etc. A much disputed passage. The 
1st quarto has : — 

" A fixed figure, for the time of scorne, 
To point his slow vnmouing fingers at — oh, oh." 

The 1st folio reads : — 

" The fixed Figure for the time of Scorne, 
To point his slow, and mouing finger at." 

The reading in the text is that of the 2d quarto, and is adopted by 
the majority of editors. " Slow and moving," which some prefer, 
is explained as = slowly moving ; but though somewhat similar uses 
of and by S. have been pointed out, this does not seem to me to 
come under that head. To my thinking, slow implies deliberation 



Scene II] Notes 233 

(as opposed to hasty judgment) and thus prepares the way for 
unmoving and emphasizes it. The time of scorn — "the scornful 
world" (Schmidt), or "the scornful spirit of the epoch" (Clarke). 
The mistake in the folio was doubtless one of the ear in transcrib- 
ing the manuscript. 

56. Garnered. Johnson says: "The gamer and the fountain 
are improperly conjoined ; " but a succession of metaphors is not a 
fault, like the mixing of them. Cf. Ham. iii. 1. 59 : "to take arms 
against a sea of troubles; " and Id. iii. 1. 156: "That suck'd the 
honey of his music vows;" which are not really faulty. 

61. Turn thy complexion, etc. "At such an object do thou, 
Patience, thyself change colour ; at this do thou, even thou, rosy 
cherub as thou art, look as grim as hell" (Johnson). 

62. Cherubin. Regularly used by S. for the singular, except 
in Ham. iv. 3. 50, which has "cherub." The plural is always 
cherubins. 

63. Ay, there, etc. The early eds. have " I here " (or " heere ") ; 
but ay is regularly printed " I " in those eds., and Theobald's emen- 
dation, Ay, there, is generally adopted. Hart, however, reads " I 
here," referring cherubin to Desdemona, and paraphrasing thus: 
" Do you change colour at these horrible reflections, young and 
rose-lipped cherub ? have patience, look here at me. I am black 
and grim as the devil." 

67. Lovely. For the adverbial use, cf. 1 Hen. IV. iii. 1. 124: — 

11 1 framed to the harp 
Many an English ditty lovely well." 

68. Aches. The folio has " akes," as regularly for the verb, indi- 
cating the pronunciation; but the noun is spelled ache (pronounced 
ailch) and the plural is a dissyllable; as in Temp. i. 2. 370, T. of A. 
i. 1. 257, v. I. 202, etc. Cf. speak and speech, break and breach, etc., 
still similarly distinguished. 

70. Book. For the metaphor, cf. K. John, ii. I. 485, R. and J. 
i. 3. 87, iii. 2. S3, R. of L. 615, 1253, etc. 



234 Notes [Act iv 

71. Committed. "Applied particularly to incontinence" 
(Schmidt). Cf. Lear, iii. 4. 83, etc. 

72. Commoner, Harlot; as in A. W. v. 3. 194. 

77. The bawdy wind. Cf. M. of V. ii. 6. 16: "the strumpet 
wind; " M. N. D. ii. 1. 129: "the wanton wind," etc. 

82. This vessel. This body of mine. Cf. T. of A. v. 1. 204 and 
Per. iv. 4. 30. It is sometimes = a person ; as in W. T. iii. 3. 21, 
/. C. v. 5. 13, etc. The Biblical phrase "the weaker vessel" 
( = woman) is used in Z. Z. Z. i. 2. 276, ^4. F. Z. ii. 4. 6, etc. 

89. Married with. Cf. Af. A 7 ". D. i. 1. 40: "to marry with 
Demetrius." See also Much Ado, v. 4. 37, R. and J. iii. 5. 219, 
Ham. i. 2. 151, etc. So the transitive verb sometimes; as in 
A. and C. i. 2. 29 ; " to marry me with Octavius Caesar ; " but to is 
oftener used. 

90. To Saint Peter. To that of Saint Peter. For the ellipsis, 
cf. /. C. ii. I. 125 : — 

" What need we any spur but our own cause 
To prick us to redress ? What other bond 
Than [that of] secret Romans, that have spoke the word, 
And will not palter ? " 

98. With who ? See on i. 2. 52 above. 

107. How have I been behaved? Cf. Ham. iii. I. 35 : "as he is 
behav'd." We still say " well-behaved." 

108. Least misuse. Clarke explains the passage thus : " How 
can I have behaved, that even my least misconduct should have 
subjected me to the smallest misconstruction on his part?" 

115. Throzvn such despite, etc. This shows that Emilia has been 
listening at the door. 

118. Such as she says, etc. "A stroke of consummate delicacy, 
surprising, when we remember the latitude of expression prevailing 
in Shakespeare's time, and which he allowed to his other women 
generally. So completely did Shakespeare enter into the angelic 
refinement of the character" (Mrs. Jameson). 



Scene ii] Notes 235 

120. Callat. A coarse or lewd woman, a drab. Cf. W. T. ii. 
3. 90, 2 Hen. VI. i. 3. 86, and 3 Hen. VI. ii. 2. 145. Malone 
quotes Harrington, Ariosto, 1591 : "And thus this old, ill-favour'd 
spiteful callet." 

129. Eternal. Here, as in J. C. i. 2. 160, the word seems to be 
used, as it still is in some provincial dialects in England, to express 
detestation or abhorrence. Cf. the Yankee " tarnal." 

131. Cogging. Deceiving, lying. Cf. M. W. iii. I. 123: "this 
same scall, scurvy, cogging companion ; " T. and C. v. 6. 1 1 : " you 
cogging Greeks," etc. Slave is not to be understood literally, but 
= wretch, as often in writers of the time. Of course Emilia does 
not suspect that Iago is the person. 

139. jVotorious. Notable, egregious; as in v. 2. 237 below. 

140. Companions. Contemptuous, as fellow now is. See another 
example in note on 131 just above. 

143. Speak within door. That is, not so loud as to be heard 
outside the house (Johnson). 

144. Squire. For the contemptuous use of the word, cf. Much 
Ado, i. 3. 54. 

145. The seamy side without. Cf. ii. 3. 44 above: "Whom love 
hath turn'd almost the wrong side out." 

152. Discourse of thought. "Discursive range of thought" 
(Clarke). 

153. Or that. For that as a " conjunctional affix," see on i. 1. 71 
above. 

159. Defeat. Destroy. Cf. Sonn. 61. 1 1 : "Mine own true love 
that doth my rest defeat." So the noun = ruin, destruction ; as in 
Ham. ii. 2. 598. 

161. It doth abhor me. It is abhorrent to me, it fills me with 
horror. Cf. Ham. v. I. 207 (1st quarto): "Here hung those 
lippes . . . now they abhorre me." 

162. Addition. Name, title ; as in iv. I. 98 above. 

163. Vanity. Splendour, finery; as in Vanity Fair (White). 
166. Chide with. Quarrel with. Cf. Sonn. ill. I: "O, for my 



236 Notes [Act iv 

sake, do you with Fortune chide; " Cymb. v. 4. 32: "With Mars 
fall out, with Juno chide," etc. 

169. Stay the meat. Are waiting for supper. For stay, cf. A. Y. Z. 
iii. 2. 221, etc. 

173. In the contrary, Cf. Hen. VIII. iii. 2. 182: "as, i' the 
contrary," etc. 

174. Every day. They have been in Cyprus only one day, but 
this gives the impression of " long time." Daffest me = dost put me 
off. Daff is only another form of doff = do off. 

178. Put up in peace whatj etc. We now say "put up with." 
Cf. T. A.\. 1. 433 : "And basely put it up without revenge." 

189. Respect. Attention, notice; as in 1 Hen. IV. iv. 3. 31 : " If 
you vouchsafe me hearing and respect," etc. 

194. Fobbed. Cheated, tricked. The early eds. have "fopt," 
and Hart reads " fopped " ( = fooled) ; but S. does not use fop else- 
where as a verb, while he has fob three times, not counting the 
present passage, in which fobbed is Rowe's emendation. It is 
adopted by nearly all the editors. Cf. 1 Hen. IV. \. 2. 68 : " And 
resolution thus fobbed as it is with the rusty curb of old father antic 
the law; " Cor. i. 1. 97: "you must not think to fob off our dis- 
grace with a tale," etc. 

197. Make myself known. Cf. i. 3. 341, and ii. 1. 262, where 
his disguise is referred to. 

201. You have said. "Well said, quite right" (Schmidt); as 
in T. G. of V. ii. 4. 29, T. N. iii. 1. 12, etc. 

203. Intendment. Intention. Cf. A. Y. L.\. 1. 140 and V. and 
A. 222. 

204. Mettle. The early eds. make no distinction between mettle 
and metal. 

209. Directly. Honestly, in a straightforward manner. Cf. 
Cymb. iii. 5. 113 : "directly and truly," etc. 

218. Engines. Some explain this as = instruments of torture. 
Cf. lear, i. 4. 290 : " That, like an engine, wrench'd my frame of 
nature." But it may simply mean "device or contrivance," as 



Scene in] Notes 237 

Schmidt gives it. Cf. A. W. iii. 5. 21 : "their promises, entice- 
ments, oaths, tokens, and all these engines of lust," etc. 

227. Lingered. Prolonged, protracted. For the transitive use, 
cf. M. N. D. i. 1. 4: " She lingers my desires," etc. 

228. Deter?ninate. Decisive; as in Hen. VIII. ii. 4. 176: "a 
determinate resolution," etc. It is = limited, fixed, in Sonn. 87. 4 
and T. A r . ii. 1. II. 

230. Uncapable. Cf. M. of K iv. I. 5 : " Uncapable of pity." 
Elsewhere S. uses incapable. 

234. Harlotry. Harlot. In R. and J. iv. 2. 14 and I Hen. IV. 
iii. 1. 199 it is used simply as a term of contempt, not in the literal 
sense. 

240. Amazed. In a maze, bewildered ; as in K. John, ii. I. 356 : 
" Why stand these royal fronts amazed thus? " JR. and J. iii. 1. 139 : 
" Stand not amaz'd," etc. 

243. High supper-time. High time for supper. Grows to waste 
= is wasting away. 

Scene III. — 2. 'T 'will do me good to walk. " One of Shake- 
speare's subtle indications of physical condition; it shows the rest- 
lessness accompanying fever of the mind " (Clarke). 

11. He looks gentler ; etc. His look and manner are calmer, 
because he has come to a resolved conclusion. 

12. Incontinent. Immediately. See on i. 3. 305 above. 

16. Wearing. Clothes; as in W. T. iv. 4. 9: "With a swain's 
wearing." 

20. Checks. See on i. 1. 138 above. Stubbornness = harshness; 
as in A. Y. L. iii. 1. 19. 

23. All 's one. All the same, very well. Cf. Much Ado, v. 1. 49 : 
" Well, all is one," etc. 

24. If I do die, etc. One of the many illustrations of the poet's 
fondness for presentiments. 

25. Talk. That is, talk idly, talk nonsense. Cf. Much Ado, iii. 
3. 37: "to babble and to talk," etc. 



2 3 8 



Notes [Act v 



27. Mad. Some of the editors would have this mean " wild " or 
" inconstant," but I see no reason for not taking it as = insane. 

31. To do. Pope changed this to "ado." To do is sometimes 
used for ado, but here the verb may have its ordinary meaning : 1 
have to do much, that is, to make a great effort. 

35. Proper. Comely, handsome. See on i. 3. 389 above, and 
cf. Hebrews, xi. 23. 

41. The poor soul, etc. S. has here "adapted" an old ballad, 
which may be found in Percy's Reliques. The original is a man's 
song, entitled " A Lover's Complaint, being forsaken of his Love ; " 
and in making it a woman's song the poet has varied its diction 
somewhat. For the old music, see Furness, p. 278. 

57. Moe. More; used regularly with a plural or collective noun. 
For couch = lie, cf. Much Ado, iii. 1. 46. 

73. Joint-ring. A common lover's token in the olden time. 
Its construction is well explained in Dryden's Don Sebastian : — 

" a curious artist wrought them 
With joints so close as not to be perceiv'd, 
Yet are they both each other's counterpart ; 
Her part had Juan inscrib'd, and his had Zayda 
(You know these names are theirs), and in the midst 
A heart divided in two halves was plac'd. 
Now, if the rivets of those rings inclos'd 
Fit not each other, I have forg'd this lye ; 
But if they join, you must for ever part." 

74. Exhibition. See on i. 3. 237 above, and cf. also Lear, i. 
2. 25 : — 

" And the king gone to-night ! subscrib'd his power ! 
Confin'd to exhibition ! " 

80. Wrong V the world. Perhaps a quibble = " in the world's 
eye, a conventional wrong "; as White explains it. 

85. To the vantage. To boot, in addition. 

89. And pour, etc. Malone compares Sonn. 142. 8: " Robb'd 
others' beds' revenues of their rent." 



Scene I] Notes 239 

90. Peevish. Foolish. Cf. ii. 3. 173 above. 

92. Having. Allowance, pin-money. In despite — out of malice 
or vexation; as in Hen. V. iii. 5. 17, etc. 

93. Galls. Bitter feelings. Cf. T. and C. i. 3. 237: "they 
have galls," etc. Grace is used " in a theological sense " (Furness). 

95. Sense. Sensual appetite. Cf. M.for M. i. 4. 59, etc. 

105. Uses. " A repetition of Emilia's word. She has suggested 
that if husbands do not use us well, it will be their fault if we follow 
their example. Desdemona prays that she may have such uses 
that, instead of imitating the bad by bad, she may be able even to 
mend and become better thereby " (Furness). 



ACT V 



Scene I. — 1. Bulk. A projecting part of a building; as in Cor. 
ii. I. 226: "stalls, bulks, windows," etc. 

5. Resolution. Metrically equivalent to five syllables. 

II. Quat. Literally, a pustule or pimple. Cf. the contemptu- 
ous use of scab in T. N. ii. 5. 82, T. and C. ii. 1. 31, Cor. i. 1. 169; 
etc.; revived in the labour troubles of our day. It is still used in 
Warwickshire. Steevens quotes Dekker, GuPs Hornbook, 1609: 
M a yong quat of the first yeeres revennew; " and The DeviPs Law 
Case, 1623 : " O young quat ! " To the sense = to the quick. 

16. BobVd from him. Fooled him out of. Cf. T. and C. iii. 
I. 75 : "You shall not bob us out of our melody." In T. and C. 
ii. I. 76 and Rich. III. v. 3. 334, bob = beat, drub. 

22. But so. The folio reading, probably = "But, soft!" (M. 
N. D. iv. 1. 124, etc.). The quartos have "be 't so," which may 
be what S. wrote. 

25. Coat. That is, "coat of proof" or shirt of mail, worn be- 
neath his outer garments. Hearing this, Iago wounds him " in the 
leg." 



240 Notes [Act v 

26. Proof, Trial; as in i. 1. 28 above. 

34. Unblest. Accurst; as in ii. 3. 295 above. 

35. Forth of. Out of; as in Rich. II. iii. 2. 204, etc. 

37. No passage? No passers-by? Cf. C. of E. iii. 1. 99: "the 
stirring passage of the day." 

42. A heavy night. " A thick cloudy night, in which an ambush 
may be commodiously laid " (Johnson) . 

48. Cries on. Cries out; as in Ham. v. 2. 375: "cries on 
havoc. " 

58. Make away. Get away. Cf. make after (i. 1. 68 above), 
makes for (i. 3. 14), etc. The transitive make away = make away 
with, kill; as in A. Y. L. v. I. 58, Rich. III. iv. 4. 281, etc. 

69. Cry you mercy. Beg your pardon. Cf. 93 below. 

71. Brother. That is, brother officer. 

85. Trash. Worthless creature. Cf. ii. 1. 299 above. 

96. A chair ! That is, a sedan-chair. Cf. Brome, The Spara- 
gus Garden (acted in 1635), * v - IO: " Shee 's now gone forth in 
one o' the new hand-litters : what call yee it, a Sedan." 

98. Well said. Well done; as in ii. 1. 166 and iv. 1. 108 above. 

106. Gastness. Ghastliness, haggard look. We find gasted (or 
T ghasted) in Lear, ii. 1. 57. 

117. Knoiv of. Find out from. 

129. Fordoes. Undoes, destroys. Cf. Ham. ii. 1. 103, v. 1. 244, etc. 

Scene II. — i. // is the cause, etc. " Othello, full of horror at 
the cruel action which he is about to perpetrate, seems at this 
instant to be seeking his justification from representing to himself 
the cause, that is, the greatness of the provocation he had received " 
(Steevens). Herford makes cause — "the cause of justice (cf. 17 
below), to be executed on an adulteress, and hence unfit to be 
named to the chaste stars. 17 

4. Whiter skin of hers than snow. Cf. Macb. v. 8. 7 : "Thou 
bloodier villain than terms can give thee out;" and see on i. 3. 
286 above. 



Scene II] Notes 241 

5. Alabaster, The early eds. (except 4th folio) have " alablaster," 
as elsewhere; the usual spelling in the time of S. 

7. Put out the light, etc. Warburton pointed the line " Put out 
the light, and then — Put out the light!" and explained it thus: 
" The meaning is, I will put out the light, and then proceed to the 
execution of my purpose. But the expression of putting out the 
light bringing to mind the effects of the extinction of the light of 
life, he breaks short, and questions himself about the effects of this 
metaphorical extinction, introduced by a repetition of his first words, 
as much as to say, But hold, let me first weigh the reflections which 
this expression so naturally excites." But, as Malone suggests, it 
probably means, I will now put out the light, and then put out the 
light of life. This introduces the following reflections as aptly as 
the other explanation, and seems simpler and more natural. The 
metaphor is a common one in S. Cf. 3 Hen. VI. ii. 6. 1, Macb. v. 
5. 23, R. of Z. 191, etc. 

11. Cunning" st. For this harsh contraction of superlatives, cf. 
safst in iii. 1. 49. See also Macb. ii. 1. 24, ii. 2. 4, iii. 4. 126, 
etc. 

12. Promethean heat Cf. Z. Z. Z. iv. 3. 304, 351 : " Promethean 
fire." 

13. The rose. The folios have "thy rose" (which Furness pre- 
fers) and in the next line but one "smell thee." 

21. This sorrow' } s heavenly. "This tenderness, with which I 
lament the punishment which justice compels me to inflict, is a 
holy passion " (Johnson). 

30. By. Aside. Cf. Much Ado, iv. I. 24: "Stand thee by, 
friar," etc. 

32. Forfend. Forbid; as in 184 below. Cf. W. T. iv. 4. 541, 
Rich. II. iv. 1. 129 (" forbid " in the folios), Cymb. v. 5. 287, etc. 

42. That death 's u?i?iatural, etc. Cf. Rich. III. i. 2. 134: — 

" It is a quarrel most unnatural, 
To be reveng'd on him that loveth you." 

OTHELLO — l6 



242 Notes [Act v 

46. Point on. Cf. T. and C. i. 3. 331 : "find Hector's purpose 
Pointing on him; " /. C. i. 3. 32: "the climate that they point 
upon," etc. 

52. Presently. Immediately; as in ii. 1. 212, ii. 3. 293, and 
iii. i. 35 above. 

63. Thou dost stone my heart, etc. "Thou dost harden my 
heart by denying thy guilt, and causest me to kill thee from wrath 
at thy perjury, when I intended thy death to be a sacrifice made 
to justice " (Clarke). 

Johnson remarks here : " I am glad that I have ended my revisal 
of this dreadful scene. It is not to be endured." 

72. Tden order. Taken measures. Cf. Rich. III. i, 4. 288: 
" Until the duke take (" give " in the folios) order for his bur- 
ial; " Id. iv. 2. 53 : "I will take order for her keeping close," 
etc. 

82. Being done, etc. "The conflict between his love and his 
wounded honour is over; he looks upon the act of retribution as 
done when he has lifted his murderous hand against his wife. It 
is done. For the mere completion of the violence, which will then 
be mercy, there is no pause'' 1 (Knight). 

90. By and by. Presently; as in ii. 1. 279 above. 

91. Like. Likely; as often. 

100. Yawn. "As if in bewildered wonder" (Herford). At 
alteration = at the change. 

108. Error. Aberration. On more nearer in the next line, 
cf. i. 3. 107, 225 above. 

131. Folly. Wantonness, unchastity; as often. Cf. R. of L. 
556, 851, M. W. ii. 2. 253, iii. 2. 35, T. and C. v. 2. 18, etc. 
There is a play upon this sense in ii. 1. 135 above. See also Deu- 
teronomy, xxii. 21. 

133. False as water. Cf. W. T. i. 2. 132: — 

" but they were false 
As o'er-dyed blacks, as wind, as waters." 



Scene II] Notes 243 

See also T. and C. iii. 2. 199, T. of A. iii. 6. 99, and Hen. VIII. 
ii. I. 310. Cf. Genesis, xlix. 4. 

138. My husband! Emilia's astonishment here is sufficient 
proof that she did not before suspect Iago of being the " eternal 
villain " that had " devised this slander." See on iv. 2. 132 above. 

143. Chrysolite. The "golden stone," as the name signifies; 
a precious stone of a yellow or green colour. Cotgrave calls it " a 
kind of jasper of a golden lustre." S. mentions it nowhere else. 

148. Iterance. The quartos have " iteration," which means the 
same. So in 207 below the quartos have " reprobation," the folios 
"reprobance." 

149. Villany hath made mocks, etc. " Villany has taken advan- 
tage to play upon the weakness of passion " (Johnson) . 

159. You were best. See on i. 2. 3c above. 
161. As I have to be hurt. That is, to endure being hurt. Cf. 
Hen. VIII. iii. 2. 387 : — 

11 1 am able now, methinks, 
Out of a fortitude of soul I feel, 
To endure more miseries and greater far 
Than my weak-hearted enemies dare offer; " 

and 2 Hen. VI. iv. 1. 130: "More can I bear than you dare exe- 
cute." 

175. Apt. Natural; as in ii. I. 283 above. 

181. Charm. Check or restrain, as with a charm or spell. Cf. 
T. of S. i. I. 214: "I will charm him first to keep his tongue; " 
Id. iv. 2. 58 : "To tame a shrew and charm her chattering tongue; " 
2 Hen. VI. iv. I. 64: "And therefore shall it charm thy riotous 
tongue; " and 3 Hen. VI. v. 5. 31 : "Peace, wilful boy, or I will 
charm your tongue." Examples of the phrase from Ben Jonson, 
Spenser, Chapman, and others might be added. 

190. / thought so then. Referring to the suspicions she might 
have had when she gave the handkerchief to Iago, or later (iii. 4) 
when she learns how the loss affects Desdemona and Othello. 



244 Notes [Act v 

She was present during all the talk about it. Some critics see a 
reference to what Emilia says in iv. 2. 129 fol. "She seems to us 
about to say, * I thought then that there was villany going on, but 
little thought my husband was its author.' The very thought that 
Iago could be capable of such villany causes her to interrupt her 
half- uttered sentence with ' I '11 kill myself for grief " (Clarke). 

204. Shore, The past tense of shear — cut, as with shears. 
The participle is shorn (as in Sonn. 68. 6), but shore for the sake 
of the rhyme in M. N. D. v. 1. 347. 

206. Curse his better angel, etc. Cf. Sonn. 144. 6: "Tempteth 
my better angel from my side." 

207. Reprobance. "Perdition, eternal damnation" (Schmidt). 
See on 148 above. 

210. A thousand times. An indefinite phrase, but used here to 
give the effect of " long time." Cf. " a hundred times " in iii. 3. 
292 above. 

212. Recognizance. Token. The word is used by S. only here 
and in Ha?n. v. 1. 113, where it has its legal sense. 

214. Antique. Regularly accented by S. on the first syllable, 
like antic, which is really the same word. 

215. My father gave ?tiy mother. This is not consistent with 
iii. 4. 55 fol. and has been criticised as an oversight in the poet; 
but, as Steevens remarks, it is only a fresh proof of his art. Othello 
tells the truth here, while there he was frightening Desdemona 
with a fictitious history of the handkerchief. 

218. As liberal as the north. As freely as the north wind blows. 
Cf. Rich. II. ii. 1. 229: "a liberal tongue; " and Cymb. i. 3. 36: 
" the tyrannous breathing of the north." Hart thinks the refer- 
ence is to " the north country and the freedom of speech " there. 
He cites various allusions to the profanity of the Scots; but he 
says that he " advances the suggestion with fear and trembling." 
It is certainly dubious. 

229. Filth. For the personal use, cf. Temp. i. 2. 346, lear, iv. 
2. 39, etc. 



Scene II] Notes 245 

231. Coxcomb. Equivalent here to fool in its strongest sense. 

232. Are there no stones in heaven, etc. Cf. J. C. i. 3. 49: 
" Have bar'd my bosom to the thunder-stone." The ancients sup- 
posed that a real stone fell with the thunder and did the mischief; 
and we still use thunderbolt as a synonym for the lightning, or the 
electric discharge. 

233. Precious. For the ironical use, cf. Cymb. iii. 5. 81 and iv. 

2.83. 

237. Notorious. Egregious; as in iv. 2. 139 above. Iago was 
not a notorious villain in the modern sense of the word, for his 
villany had but just then become known. 

245. I will play the swan, etc. Cf. R. of L. 161 1 : — 

" And now this pale swan in her watery nest 
Begins the sad dirge of her certain ending." 

See also K. John, v. 7. 21, M. of V. iii. 2. 44, and Phcenix and 
Turtle, 15. 

251. A sword of Spain, etc. "Spanish blades" (R. and J. i. 4. 
84) were famous for their quality. Steel is tempered by alternate 
heating and cooling. 

262. Your stop. What you can do to stop me. Cf. R. and J. 
ii. 2. 69 : " thy kinsmen are no stop to me," etc. Steevens quotes 

Cor, i. 1. 72: — 

" Cracking ten thousand curbs 
Of more strong link asunder than can ever 
Appear in your impediment." 

264. Weapon } d. Cf. womartd in iii. 4. 194 above. 

265. Butt. Goal, bound. 

267. Lost. Wasted, groundless. 

268. A rush. Often used as the symbol of weakness and in- 
efficiency. Cf. K. John, iv. 3. 129, Cor. i. 1. 185, i. 4. 18, etc. 

270. Wench. See on iii. 3. 313 above. 

271. Compt. The last reckoning-day. It is an old spelling of 
count. 



246 Notes [Act v 

278. Blow me about in winds. Douce compares M. for M. iii. 

1. 124: — 

" To be imprison'd in the viewless winds 
And blown with restless violence round about 
The pendent world." 

285. His feet. To see if they are cloven. 

291. In the practice. Into the snare. For practice = plot, cf. 
i. 3. 102 and iii. 4. 140 above. 

295. Part. For the adverbial use, cf. Sonn. 1 13. 3, T. N. iii. 4, 
337> etc. 

296. Consent in. Plan together, conspire with each other 
for. 

300. Demand. Ask, question. Cf. Temp. i. 2. 139: "Well 
demanded," etc. Demi-devil = " Worse than a devil. Iago is 
human in form, but he is a bastard, with a devil for one parent. 
A genuine devil is a higher order of being" (Dowden, quoted by 
Hart). S. also calls Caliban a demi-devil, "a bastard one," the 
only other instance in which he uses the word. 

313. Another discontented paper. Of course Roderigo would 
not have written these letters. They are simply a device for bring- 
ing out facts that are dramatically needed here, though the audi- 
ence in the theatre already knows them. Discontented — " full of 
dissatisfaction " (Schmidt). 

316. Belike. Probably; as in M.N.D. i. I. 1 30, etc. 

317. Satisfied him. Gave him enough — to kill him; a peculiar 
use of the word. 

326. Cast. Dismissed, cashiered. Cf. i. I. 139 and ii. 3. 12 
above. 

330. Taken off. Taken away; as in A. W. ii. 1. 92 : "May 
spend our wonder too, or take off thine," etc. 

344. Wrought. That is, wrought upon. Cf. W. T. v. 3. 58 : — 

" If I had thought the sight of my poor image 
Would thus have wrought you," etc. 



Scene ii] Notes 247 

345. Perplexed. Used in a much stronger sense than now, = 
confounded, bewildered, distracted. Cf. 2 Corinthians, iv. 8 : " per- 
plexed, but not in despair." 

346. Indian. The reading of all the early eds. except the 
1st folio, which has " Iudean." Some have maintained that 
"Judean" was correct, and that it referred to Herod, who, in a 
fit of blind jealousy, threw away Mariamne, his " jewel " of a wife. 
On the other hand, Boswell cites in favour of Indian Habington's 
Castara : — 

" So the unskilfull Indian those bright gems 
Which might adde majestie to diadems 
'Mong the waves scatters ; " 

and Sir Edward Howard, The Woman's Conquest: — 

" Behold my queen — 
Who with no more concern I 'le cast away 
Than Indians do a pearl that ne're did know 
Its value." 

Coleridge remarks : " Othello wishes to excuse himself on the 
score of ignorance, and yet not to excuse himself — to excuse him- 
self by accusing. This struggle of feeling is finely conveyed in 
the word base, which is applied to the rude Indian, not in his 
own character, but as the momentary representative of Othello's. 
Indian — for I retain the old reading — means American, a sav- 
age in genere." 

349. The Arabian trees. "The acacia Arabica" (Herford). 
In The Phoenix and the Turtle, 2, the " Arabian tree " is the palm. 
Cf. Temp. iii. 3. 23. 

350. Medicinable. Medicinal. S. has the word in four other 
passages {Much Ado, ii. 2. 5, T. and C.i. 3. 91, iii. 3. 44, and Cymb. 
iii. 2. 33), in all = medicinal, and in all pronounced medicinable, 
as here. Some editors adopt the "medicinal" of the 1st quarto, 
but that word, in the only instance in which S. uses it ( W. T. ii. 3. 
37 : "Do come with words as medicinal as true") is pronounced 



248 Notes [Act v 

medicinal, which would not suit the measure here. Other adjec- 
tives in -ble are used in an active sense by S. ; • as unmeritable 
{Rich. III. iii. 7. 155), comfortable {Lear, i. 4. 328), deceivable 
{T.N. iv. 3. 21), etc. 

351. Aleppo. Steevens says: "I am told that it is immediate 
death for a Christian to strike a Turk in Aleppo. Othello is boast- 
ing of his own audacity. ,, 

356. Period. Ending. Cf. R. of L. 380 : " the period of their 
ill," etc. In the present passage there is a kind of play upon the 
word, to which Gratiano refers in the next speech. 

360. Spartan dog. The dogs of Spartan breed were especially 
fierce and savage (Hanmer). 

367. Censure. Sentence, condemnation. Cf. Cor. iii. 3. 46 : 
"To suffer lawful censure for such faults," etc. 



APPENDIX 



Was Othello a Negro ? 

In Furness's " New Variorum " edition of Othello, — which we may 
be sure gives an abstract of everything of importance on this as on 
all questions connected with the play, — some seven pages are de- 
voted to "Othello's Colour"; but the subject appears to have 
attracted little attention until the present century. 

The tradition of the stage made the Moor black. Quin (who 
retired from the stage in 1750), according to a writer in the 
Dramatic Censor (1770), played the part "in a large, powdered 
major wig, which, with the black face, made such a magpie 
appearance of his head as tended greatly to laughter"; and he 
came on " in white gloves, by pulling off which the black hands 
became more realized." 

Edmund Kean seems to have been the first to dispute this old 
tradition. Hawkins, in his life of the actor (quoted by Furness), 
says : "Kean regarded it as a gross error to make Othello either a 
negro or a black, and accordingly altered the conventional black 
to the light brown which distinguishes the Moors by virtue of their 
descent from the Caucasian race. . . . Betterton, Quin, Mossop, 
Barry, Garrick, and John Kemble all played the part with black 
faces, and it was reserved for Kean to innovate, and Coleridge to 
justify, the attempt to substitute a light brown for the traditional 
black." 

Coleridge, as Hawkins intimates, was the first of the critics to 
take ground against the old stage practice. In commenting upon 
the epithet " thick-lips " applied by Roderigo to Othello, he says : 

249 



250 Appendix 

" Roderigo turns off to Othello ; and here comes one, if not the 
only, seeming justification of our blackamoor or negro Othello. 
Even if we suppose this an uninterrupted tradition of the theatre, 
and that Shakespeare himself, from want of scenes, and the expe- 
rience that nothing could be too marked for the senses of his 
audience, had practically sanctioned it, — would this prove aught 
concerning his own intention as a poet for all ages ? Can we 
imagine him so utterly ignorant as to make a barbarous negro 
claim royal birth — at a time, too, when negroes were not known 
except as slaves ? Though I think the rivalry of Roderigo sufficient 
to account for his wilful confusion of Moor and Negro, I should 
think it only adapted for the acting of the day, and should com- 
plain of an enormity built on a single word, in direct contradiction 
to Iago's 'Barbary horse.' . . . No doubt Desdemona saw Othello's 
visage in his mind ; yet, as we are constituted, and most surely as 
an English audience was disposed in the beginning of the seven- 
teenth century, it would be something monstrous to conceive this 
beautiful Venetian girl falling in love with a veritable negro. It 
would argue a disproportionateness, a want of balance, in Desde- 
mona which Shakespeare does not appear to have in the least 
contemplated." 

In iv. 2. 225, Iago tells Roderigo that Othello, if displaced by 
Cassio, "goes into Mauritania," — that is, returns to his native 
country, as Shakespeare evidently regarded it. It is true that, as 
Knight remarks, "the popular notion of a Moor was somewhat 
confused in Shakespeare's time, and that the descendants of the 
proud Arabs, who had borne sovereign sway in Europe (' men of 
royal siege'), . . . were confounded with the uncivilized African, 
the despised slave ; " but I see no clear evidence that Shakespeare 
thus confounded them. In the only instance in which he uses the 
word negro (M. of V. iii. 5. 42), Moor is, indeed, employed as a 
synonym for it ; but this is apparently for the sake of the play 
upon Moor, which follows : " It is much that the Moor should be 
more than reason ; but if she be less than an honest woman, she is 



Appendix 251 

indeed more than I took her for." The same quibble on Moor 
and more occurs in T. A. iv. 2. 52, 53, and Aaron the Moor is 
unquestionably black ; but that play is almost certainly the work 
of an earlier dramatist, with which Shakespeare had little, if any- 
thing, to do. 

Blackamoor, which did mean negro, occurs only in T. and C. 
i. I. 80: "I care not an she were a black-a-moor ; 't is all one to 
me." This word originated in the confusion of Moor and negro, 
or "white Moors" and "black Moors," as they were sometimes 
distinguished; and the form "black Moor" was in use, as we 
learn from the New Eng. Did., down to the eighteenth century. 

Shakespeare's word for the negro is Ethiope, which occurs eight 
times, and invariably as a term of contempt. " I '11 hold my mind, 
were she an Ethiope," says Claudio {Much Ado, v. 4. 38), when it 
is proposed that he shall marry another woman in place of Hero, 
whom he believes to be dead. In one instance the word is an 
adjective {A. Y. L. iv. 3. 35) : — 

" Such Ethiope words, blacker in their effect 
Than in their countenance." 

Ethiopian is used twice : in a slang way by the Host in M. W. 
ii. 3. 28 : " Is he dead, my Ethiopian ? Is he dead, my Francisco? 
Ha, bully ! " — and for the negro in a simile in W. T. iv. 4. 375 : — 

" I take thy hand, this hand, 
As soft as dove's down and as white as it, 
Or Ethiopian's tooth," etc. 

African occurs only in Te?np. ii. I. 125, where it refers to the 
King of Tunis, who has married Alonso's daughter, Claribel. 

It is hardly necessary to say that no argument can be based on 
the word black, which is applied to the " dark lady " of the Sonnets 
and to other brunettes, like Rosaline in Z. Z. Z. iv. 3. 247 fol. and 
Julia in T. G. of V. iv. 4. 161, who calls herself "black" when 
" the lily-tincture of her face " is somewhat browned with travel. 



252 Appendix 

People who ought to know better have, nevertheless, sometimes 
misunderstood this use of black. In a certain anthology of quota- 
tions from Shakespeare, published twenty or more years ago, the 
passage, " Black men are pearls in beauteous ladies' eyes " ( T. G. 
of V. v. 2. 12), is put under the heading " Negroes." 

Christopher North (Blackwood, April, 1850) expressed his belief 
that Othello "is black, and all black." He could not conceive 
" the ethnography of that age drawing, on the stage especially, the 
finer distinction between a Moor and a Blackamoor or Negro. " 
But the very existence of the word blackamoor proves that the 
distinction was then drawn, though the terms were sometimes con- 
fused. Shakespeare's notions on the subject may not have been 
absolutely clear, but he neither calls Othello an Ethiope, nor makes 
Roderigo, Iago, or Brabantio call him so — which is rather remark- 
able, and significant withal, when he uses Ethiope so often else- 
where as an opprobrious epithet. 

Grant White, Halliwell-Phillipps (who says that the reference to 
Mauritania "surely settles the question"), Hudson, and Verity 
("Henry Irving" edition), all agree with Coleridge and Knight, 
as do Hunter (Netv Illustrations of Shakespeare) and Henry Reed 
(Lectures on Tragic Poetry). On the other side are Lewes (On 
Actors and Acting), and Furness, who says: "Disregarding the 
* thick lips ' of Iago, or the ' sootie bosome ' of Brabantio, or any 
phrase uttered by Othello's enemies in moments of passion, to me, 
beyond a peradventure, Othello himself supplies the evidence, 'which 
will not down,' where he says (iii. 3. 387) : — 

1 My name that was as fresh 
As Dian's visage is now begri?n'd and blacke 
As mine owne face.' 

The epithet ' begrim'd ' amplifies and confirms the sooty hue." 

I suspect that Furness must have some peculiar association with 
that word begrime, which really suggests filth rather than black- 
ness. This is the only instance of the word in Shakespeare; but 



Appendix 253 

the verb grime occurs in Lear, ii. 3. 9, where Edgar, planning dis- 
guise, says, " My face I '11 grime with filth." We find the noun in 
the Syracusan Dromio's description of the kitchen-wench : " Swart, 
like my shoe, but her face nothing like so clean kept; for why, she 
sweats : a man may go overshoes in the grime of it." Warburton 
unnecessarily changed " crime " to " grime " in the same play (ii. 
2. 143) : " My blood is mingled with the crime of lust." The Cen- 
tury Dictionary defines begrime thus: "To make grimy; cover or 
impress as with dirt or grime; " quoting Macaulay (History of 
England, x.) : " The justice-room begrimed with ashes." Grime 
it defines as "foul matter; dirt; soil; foulness, especially of a sur- 
face; smuttiness." The New Eng. Diet, defines begrime: "To 
blacken or soil with grime, or dirt which sinks into the surface and 
discolours it." It quotes, among other illustrations of the word, 
Holland's Plutarch (1603) : " Enjoy ning men to begrime and be- 
wray themselves with dirt; " and the Saturday Review (July 8, 
1865) : "The blackened and begrimed people who had worked so 
hard." The instance in Othello is also cited. 

In his use of " begrim'd " Othello refers to the foul stain upon 
his name; * and in the reference to the blackness of his face there 
is a morbid exaggeration, not unlike that of the poet in the 147th 
Sonnet when he addresses the " dark lady " thus : — 

11 For I have sworn thee fair and thought thee bright, 
Who art as black as hell, as dark as night." 

1 That is, if we read " My name," as in the folios, instead of "Her 
name," as in the 2d and 3d quartos. Knight follows and defends the 
former, but all the other recent editors adopt the latter. Dyce says that 
" my own face " proves that " Her" is right; but that expression seems 
to be antithetical to " Dian's visage." However we may interpret that 
the entire context has to do with Desdemona, and the change to " My 
name " would be awkward. 1 1 is not likely, moreover, that Othello would 
compare his own reputation to " Dian's visage." But whichever reading 
we accept, the reference in " begrim'd and black " is the same. 



254 Appendix 

By the way, this is the only instance in which Shakespeare uses 
dark with reference to complexion, except in Z. L. L. v. 2. 20, " A 
light condition in a beauty dark," where it is introduced for the 
sake of the quibble. 

Several of the critics have referred to the description of the 
Prince of Morocco in the folio stage-direction of M. of V, (ii. 1) 
as "a tawnie Moor." It shows, as they say, that Shakespeare, 
long before he wrote Othello, knew that the Moors were not 
negroes. But no critic, so far. as I am aware, has seen fully the 
bearing of the delineation of Morocco upon this question of 
Othello's colour. 

Observe that when the prince first meets Portia he assumes that 
his colour is likely to prejudice her against him. He is sensitive 
concerning the impression he may make upon her, because, although 
he has come to Belmont as a mere adventurer, he falls in love with 
Portia at sight, and promptly avows it. If he chooses the right 
casket he wins the heiress whether she likes him or not, but, being 
in love, he would fain be loved in return. " Mislike me not for my 
complexion," he begs, for it is only " the shadowed livery of the 
burnished sun; " and he would not change it, he adds, "except to 
steal your thoughts, my gentle queen." Portia treats him with 
gentle courtesy, quite unlike her bearing toward the self-conceited 
Arragon; but after he has failed in the trial and gone, she says, 
" Let all of his complexion choose me so ! " When she first heard 
of his arrival, she had said to Nerissa, " If he have the condition of 
a saint and the complexion of a devil, I had rather he should shrive 
me than wive me." It is evident that Morocco was right : the lady 
had a strong prejudice against even the " tawny " complexion of the 
Moors, even those of " royal siege." "The complexion of a devil ! " 
The exaggeration is like that of Iago when he warns Brabantio that 
" the devil will make a grandsire of him " if he is not prompt to 
avert the disgrace. 

Knight remarks that " in the ages of her splendour Venice was 
thronged with foreigners from every climate of the earth, and 



Appendix 255 

nowhere else, perhaps, has the prejudice of colour been so feeble.'' 
This might be true so far as business relations with foreigners were 
concerned, or the employment of Moors as officers in the army; 
but there the proud magnificoes of Venice appear to have " drawn 
the line." They would say to the "tawny" strangers, as Shylock 
said to Bassanio, " I will buy with you, sell with you, talk with you, 
walk with you, and so following, but I will not eat with you, drink 
with you, or pray with you." Brabantio did not go quite so far as 
that, for he invited Othello to his house, and introduced him to his 
daughter ; but that the Moor should aspire to the hand of the 
daughter was too much. Othello understood the limits of the 
Senator's condescension ; hence the elopement. 

Possibly we have the hint of a similar prejudice against colour — 
even no darker than a "tawny" hue — in Temp. i. 2. 123 fol. : 
Sebastian, after the shipwreck, says to Alonso : — 

M Sir, you may thank yourself for this great loss, 
That would not bless our Europe with your daughter, 
But rather lose her to an African. 

You were kneel'd to and importuned otherwise 
By all of us, and the fair soul herself 
Weigh'd between loathness and obedience, 
Which end o' the beam should bow." 

The reference to " loathness " seems to imply something more than 
mere dislike to go so far from home. 

Incidentally I may also call attention to the fact that Shakespeare 
twice uses tawny contemptuously with reference to complexion. 
In M. A r . D. iii. 2. 263, Lysander calls Hermia " tawny Tartar " a 
moment after he has addressed her as "you Ethiope." We may 
infer that she was a brunette, and that Lysander when angry could 
indulge in hyperbolical epithets, like Iago and the rest. In the 
opening speech of A. and C. f Philo makes sneering allusion to the 
" tawny front " of the Egyptian queen ; and the " gipsy " that 
follows is another contemptuous allusion to her complexion. 



256 Appendix 

In conclusion, it may be said that Shakespeare's calling Othello 
a Moor really settles the question. The treatment of the Moorish 
prince in M. of V, proves that the poet knew the complexion of the 
Moors to be " tawny," not black, and was acquainted with their 
character and warlike deeds; also that he knew (or supposed) that 
in Venice there was a prejudice against marriage with the Moors 
on account of their race and colour. This prejudice explains Bra- 
bantio's opposition to his daughter's union with Othello, and the 
exaggerated references to the colour of the Moor put into the 
mouths of the Senator, Iago, and Roderigo. It also explains 
Othello's own morbid sensitiveness concerning his colour after he 
begins to doubt Desdemona's fidelity. It is significant that he does 
not appear to be sensitive on this point until that time. 

Shakespeare also regarded the Ethiopians (or negroes) as an 
inferior and despised race, and could not have represented one of 
them as a general in a Venetian army. 



The Time-Analysis of the Play 

The action covers three days : the first for Act I., the second for 
Act II., and the third for the rest of the play; with an interval (for 
the voyage to Cyprus) between the first and second. 



List of Characters in the Play 

The numbers in parentheses give the number of lines the char- 
acters have in each scene. 

Roderigo: i. 1(42), 2(1), 3(16); ii. 1(9), 3(8); iv. 2(36); v. 
1 (11). Whole no. 123. 



Appendix 257 

Iago: i. 1(108), 2(27), 3(93); ii. 1(156), 3(218); iii. 1(5), 
2(0,3(217), 4(9); iv. 1(134), 2(62); v. 1(75), 2(12). Whole 
no. 1 1 17. 

Brabantio : i. 1(46), 2(31), 3(62). Whole no. 139. 

Othello: i. 2(38), 3(1 15) ; ii. 1(29), 3(56); iii. 2(5), 3(201), 
4(50); iv. 1(109), 2(68), 3(6); v. 1(8), 2(203). Whole no. 888. 

Cassio: i. 2(16); ii. 1(51), 3(90; *"• 1(21), 3( J 2), 4(27); 
iv. 1(31); v. 1(16), 2(14). Whole no. 289. 

1st Officer : i. 2(3), 3(2). Whole no. 5. 

Duke : i. 3(73). Whole no. 73. 

1st Senator : i. 3(28). Whole no. 28. 

2d Senator : i. 3(5). Whole no. 5. 

Sailor : i. 3(4). Whole no. 4. 

Messenger : i. 3(9). Whole no. 9. 

Montano : ii. 1(21), 3(33); v. 2(7). Whole no. 61. 

1st Gentleman: ii. 1(3); hi. 2(1). Whole no. 4. 

2d G entleman : ii. 1(14). Whole no. 14. 

3d Gentleman: ii. 1(17). Whole no. 17. 

4H1 Gentleman : ii. 1(2). Whole no. 2. 

Herald : ii. 2(13). Whole no. 13. 

Clown: iii. 1(18), 4(12). Whole no. 30. 

1st Musician : iii. 1(5). Whole no. 5. 

Lodovico : iv. 1(25), 3(2); v. 1(9), 2(40). Whole no. 76. 

Gratiano : v. 1(9), 2(17). Whole no. 26. 

Desdemona: i. 3(28); ii. 1(30), 3(1); iii. 3(72), 4(80); iv. 
1(14), 2(64), 3(57); v. 2(42). Whole no. 388. 

Emilia: ii. 1(3); iii. 1(13), 3(28), 4(18); iv. 2(44), 3(49); 
v. 1(4), 2(86). Whole no. 245. 

Bianca : iii. 4(17); iv. 1(12); v. 1(7). Whole no. 36. 

"All" : ii. 1(2), 3(2); v. 2(1). Whole no. 5. 

In the above enumeration parts of lines are counted as whole 
lines, making the total of lines in the play greater than it is. The 
actual number of lines is: i. 1(184), 2(99), 3(410;; ii. 1(321), 

OTHELLO — 17 



258 Appendix 

2(13). 3(395); "*• 1 (58), 2(6), 3(479), 4(201); iv. 1 (293), 2(252), 
3(106); v. 1(129), 2(371). Whole no. in the play, 3317. The 
line-numbering is that of the Globe ed. 

It may be added that Iago is not only the most intellectual, but 
also one of the most voluble of Shakespeare's villains. It will be 
seen that he speaks 11 17 lines, or almost exactly one-third of the 
3317 in the play. Only two characters in other plays exceed his 
record: Hamlet, with 1569 lines, and Richard III., with 1161. 
Henry V., with his 1063 lines, is the only other character, male 
or female, who has more than a thousand lines. 



INDEX OF WORDS AND PHRASES 
EXPLAINED 



a (= one) , 207 

abhor, 235 

abused (= deceived), 177, 

193, 219 
abuser of the world, 180 
access (accent), 209 
achieved, 195 
acknown, 218 
act (= operation), 219 
action (trisyllable), 204 
addiction, 202 
addition (= credit), 226 
addition (= title), 229, 235 
advocation, 225 
affects (noun), 189 
affined, 173, 206 
affinity , 209 
against the devil, 226 
agnize, 187 
a-killing, 230 
alabaster, 241 
Aleppo, 248 
all in all in spleen, 229 
all *s one, 237 
allowance. 175 
allowed, 187 
Almain, 203 
amazed, 237 
amiable, 224 
ancient (noun), 173 
Anthropophagi, 184 
antique (accent), 244 
antres, 183 
apart (= aside) , 208 
approved (= proved), 195, 

205, 207 
apt (= natural), 201, 243 
Arabian tree, 247 
arithmetician, 172 
arrivance, 195 
as (= as if), 211 
as (= that), 174 
aspics, 222 



assay of reason, 181 
assure thee, 210 
at land, 193 
atone, 231 

attach (= arrest), 180 
attend (= await), 217 

battle, 173 
bauble, 229 
be advised, 179 
bear some charity, 229 
behaved, 234 
be-leed, 173 
belike, 246 

bells (in parlour), 197 
beshrew, 226 
besort, 188 
bestow you, 210 
bid good morrow, 209 
birdlime, 197 
black, 217 
blank, 225 
blazoning, 196 
blood, 205 
bobbed, 239 
bombast, 172 
brace (= armour), 181 
bravery, 175 

bring (= accompany), 226 
bulk, 239 

burst (of the heart), 175 
but for, 200 
butt, 245 

by (= aside) , 241 
by and by (= presently), 
207, 227, 242 

caitiff, 229 
callat, 235 
canakin, 203 
cannibals, 183 
capable, 222 
carack, 179 

259 



caroused (= drunk), 202 

carve, 204 

cast (= dismiss), 176, 202, 

206 
cause, 240 
censure (=judgment), 205, 

231 
censure (= sentence), 248 
certes, 172 
chair (= sedan) , 240 
challenge (= claim), 185 
chamberers, 217 
charm (= restrain), 243 
charmer, 224 
check (= rebuke), 176, 

211, 237 

cherubin, 233 
chide, 193, 197 
chide with, 235 
chronicle small beer, 198 
chrysolite, 243 
chuck, 224 
circumscription, 178 
circumstance, 172, 220 
circumstanced, 226 
civil, 228 
clamours. 220 
clean (adverb), 192 
clip (= embrace), 222 
close as oak, 214 
coat (= coat of proof) , 239 
cogging, 235 
co Hied, 205 
coloquintida, 192 
commit, 234 

commoner (= harlot), 234 
companions, 235 
complexion, 214, 233 
compliment extern, 174 
composition, 180 
compt, 245 
compulsive, 222 
conceit, 211, 212, 219 



i6o Index of Words and Phrases 



conclusion, 221 
condition, 200, 230 
conduct (= escort), 196 
confess and be hanged, 

227 
confine (accent), 178 
conjunctive, 192 
conjured, 183 
conscionable, 200 
consent in, 246 
conserved, 224 
consuls (= senators), 173, 

179 _ 

content (=joy), 199 
content (= reward), 209 
content you, 173 
continuate, 226 
contrived (= deliberate) , 

177 
conveniences, 200 
converse (= conversation), 

209 
cope (= meet), 229 
couch (verb), 238 
counter-caster, 173 
course of direct session, 

180 
court of guard, 200, 205 
courtesy, 199 
coxcomb, 245 
crack (= breach) , 207 
craftily qualified, 202 
cries on, 240 
critical, 197 
crusadoes, 223 
cry (= pack), 208 
cry you mercy, 240 
cue, 180 
cunning, 210 
cunning'st, 241 
curled (= foppish), 179 
customer (= harlot), 229 

daffest, 236 

dear, 188 

debitor and creditor, 173 

defeat (= destroy) , 235 

defeat (= disfigure), 192 

defend (= forbid), 189 

delations, 211 

delighted (= delighting), 

190 
deliver (=relate), 183, 206 
demand (= question) , 246 
demerits (= merits), 177 
demi-devil, 246 



demonstrable (accent), 

225 
denotement, 207 
deputing, 231 
Desdemon, 210 
designment, 194 
determinate, 237 
devesting, 205 
Diablo! 204 
dilate, 184 

directly (= honestly), 236 
discontented, 246 
discourse fustian, 207 
discourse of thought, 235 
dislikes (= displeases), 

202 
displanting, 201 
disports, 189 
dispose (noun), 193 
disputed on, 180 
distaste (verb), 219 
distempering, 175 
division (= disposition), 

J I73 r 
dotage of, 227 

double (voice), 177 

doubt (= suspect), 210 

doubt (= suspicion), 213, 

221 

drowsy/219 

ear-piercing fife, 220 

ecstasy (= swoon), 228 

Egyptian, 224 

elements, 203 

embayed, 194 

encave, 228 

enchafed, 194 

engage (= pledge), 222 

enginer, 196 

engines, 236 

engluts, 182 

ensteeped, 196 

entertainment, 215 

entreats his pause, 206 

enwheel, 197 

equinox, 204 

equivocal, 187 

erring, 192, 214 

error (of the moon), 242 

essential, 196 

eternal, 235 

execute upon him, 206 

execution (= exercise) , 

222 
exercise, 223 



exhibition, 188. 238 
expert and approved al- 
lowance, 195 
exsufHicate, 213 
extincted, 197 
extravagant, 175 

facile question, 181 
falls (transitive), 231 
false as water, 242 
fall to (= begin), 215 
fantasy (= fancy), 218 
fathom, 176 
favour (=face), 192, 200, 

225 
fearful, 181 
filth (personal), 244 
fine (= end), 213 
fineless, 213 
fitchew, 230 
fleers, 228 

flood-gate (adjective), 182 
fobbed, 236 
folly (= wantonness), 198, 

242 
fond (= foolish), 191, 198, 

221 
for (= because), 189, 20b, 

211, 217, 226 

for (omitted), 177 

forbear (= spare), 177 

fordoes, 240 

fore, 203 

forefend, 241 

forked plague, 217 

forth of, 240 

fortitude (=strength), 187 

fraught (noun), 222 

free (= innocent), 208, 

216 
free (= liberal), 189 
frize, 197 

from (= away from), 175 
fruitful (=bountiful), 208, 

223 
full (= complete), 174, 

195 
function (= trade) , 232 

galleys (= officers of), 179 
galls (noun), 239 
gastness, 240 
gender (= kind). 191 
generous (= noble), 217 
give away (= give up), 
210 



Index of Words and Phrases 261 



God bless the mark! 173 

government, 216 

grace 209 

grange, 175 

greedy ear, 184 

green, 200 

green-eyed, 213 

grise, 186 

gross in sense, 180 

grows to waste, 237 . 

guardage, 179 

guards of the pole, 194 

guinea-hen, 191 

guttered, 196 

gyve, 198 

had rather, 186, 223 
hadst been better have 

been, 220 
haggard, 216 
hales, 230 
handkercher, 223 
happily (= haply), 215 
happiness (= good luck), 

225 
hardness(=hardship), 188 
harlotry, 237 
haste-post-haste, 179 
haunt (intransitive), 175 
have been behaved, 234 
have with you, 179 
having (= allowance), 239 
hearted, 192, 221 
heat (= haste), 179 
heave the gorge, 200 
heaven (plural), 232 
heavy (= cloudy), 240 
heavy (=dull), 198. 232 
herself (= itself), 183 
high supper-time, 237 
high-wrought, 193 
hint (= subject), 183 
his (= its), 227 
hobby-horse, 230 
holds me well, 193 
home, 198 
honesty, 231 
honey (adjective), 199 
horned man, 228 
horologe, 204 
housewives. 197, 229 
how say you by, 181 
humbled (metre), 211 
hungerly, 225 
hurt to danger, 205 
Hydra, 207 



idle (= barren), 183 
idleness, 183, 191 
import (= concern), 190 
import (= importance), 

218 
importancy, 181 
importune (accent), 225 
imposition, 206 
in (=on), 175 
in despite, 239 
in happy time, 209 
in quarter, 204 
in the best advantage, 

190 
in the contrary, 236 
in the rank garb, 201 
inclining, 208 
incontinent (adverb), 237 
incontinently, 190 
index, 200 
Indian, 247 
indign, 190 
ingraft, 204 
injointed, 181 
intendment, 236 
intentiyely, 184 
invention, 230 
issues, 214 
it is, 194, 229 
it was my hint, 183 
iterance, 243 

Janus, 179 
jesses, 216 
joint-ring, 238 
jump (= agree), 180 
jump (= just), 208 
just (= exact), 181 
justly (= truthfully), 183 

knave (= menial), 174, 

knee-crooking, 173 
know of, 240 

lack (= miss), 218 

law-days, 212 

lay (= wager) , 207 

learn (= teach), 185 

learned, 216 

leets, 212 

let her down the wind, 

216 
letter, 173 
levels with, 188 
liberal, 198 



liberal as the north, 244 
lies (= lodges), 223 
like (= likely), 242 
like . . . as, 174 
lingered (= prolonged) , 
. 237 

lip (verb 1 ), 228 
list (= boundary), 228 
list (= desire), 197 
locusts, 192 

lost (= groundless) , 245 
lovely (adverb), 233 
lown, 204 
Luccicos, 181 

magnifico, 177 
maidhood, 176 
make away, 240 
makes (= does), 179, 226 
mammering, 211 
manage (= set on foot) , 

205 
mandragora, 219 
manured, 191 
marble, 222 

marriage (trisyllable), 217 
married with, 234 
master (of ship), 199 
match (= compare), 215 
mazzard, 204 
me (expletive), 174, 180 
mean, 209 
medicinable, 247 
medicine (verb), 219 
mere (= absolute) , 202 
mettle, 236 
minerals, 180 
minx, 223 
misuse, 234 
mock, 213 

modern (= common), 183 
moe, 238 
molestation, 194 
monstrous (trisyllable) , 

206 
moraler, 207 
more nearer, 242 
more safer, 187 
more wider, 183 
mortal (= deadly), 220 
moth, 188 
motions (= impulses), 

180, 183, 191. 
mountebanks, 182 
mummy, 224 
mystery (= trade), 232 



262 Index of Words and Phrases 



napkin (= handkerchief) , 

217 
new-create, 231 
news (number), 180 
next (= nearest), 187 
not (transposed), 213 
notorious, 235, 245 
nuptial, 202 

observance, 213 

observancy, 226 

odd-even, 175 

odds (= quarrel), 205 

of ( = from) , 240 

off-capped, 172 

officed, 189 

offices, 202 

old gradation, 173 

on (= of), 194 

on the hip, 201 

opinion, 205 

opposite (= averse), 179 

other, 232 

Ottomites, 181 

out of fashion, 199 

outsport, 202 

overt test, 183 

owe (= own), 174, 219 

pagans, 180 

pageant, 181 

paraxon (verb), 196 

parallel, 208 

part (adverb), 246 

parts (= merits), 178, 

207, 217 
passage (= passers-by), 

240 
passing (adverb), 185 
patent, 230 

patience (trisyllable), 208 
peculiar, 174, 211, 228, 

239 
peevish (= silly), 205 
perdurable, 191 
perfect soul, 178 
period (= ending), 288 
perplexed, 247 
pestilence, 208 
pictures, 197 
pierced, 187 
pioners, 219 
planet, 205 
play the sir, 199 
pleasance, 207 
please (impersonal), 185 



pliant, 184 

point on, 242 

poise (= weight), 211 

Pontic sea, 222 

portance, 183 

position (= assertion), 

215 
post-post-haste, 181 
pottle-deep, 203 
practice (= plotting), 225, 

246 
precious (ironical), 245 
prefer, 201 
pregnant, 200 
prerogatived. 217 
presently, 207, 242 
pricked, 221 
probal, 208 

probation (= proof), 220 
profane, 198 
profit, 220 
promulgate, 177 
proof (= trial) , 240 
proper (= comely), 238 
proper (=own), 182,228 
propose (= speak), 173 
propriety, 204 
prosperity, 201 
prosperous, 185 
puddled, 225 
purse (verb), 211 
put himself into triumph, 

202 
put it up (= put up with 

it), 236 
put on (= instigate), 201, 

208 
put out the light, 241 

qualification, 201 
qualified, 202 
quat, 239 
question, 181 
quests, 179 
quicken, 217 
quillets, 209 
quirks, 196 

rank (adjective), 201, 215 
rash (= rashly), 224 
recognizance, 244 
recoiling, 215 
reference, 188 
regard (= view), 195 
region (= part) , 229 
remorse (= pity) , 220 



remove (= banish), 232 
repeal (= recall), 208 
reprobance, 244 
reserves (= preserves) , 

218 
resolution (metre), 239 
resolved, 213 

respect (= attention), 236 
revolt, 213 

riches (singular), 197 
round (= plain), 183 
rouse (= bumper), 203 
ruffianed, 193 
rush (noun), 245 

safe (= sound), 231 
Sagittary, 176, 183 
salt (= lustful), 200 
sans, 182 
satisfied, 246 
'sblood, 172 
scant, 189 
scape, 183 
scored me, 229 
scorns (noun), 228 
search (concrete), 179 
sea's worth, for the, 178 
sect (= cutting), 191 
secure. 228 
seel, 189, 214 
seem to, 209 
segregation, 193 
self-bounty, 213 
self-charity, 205 
se'nnight, 196 
sense (= feeling), 206, 

239 
sense, to the, 239 
sequester (noun), 192, 

223 
sequestration, 192 
shadowing, 227 
shame, for, 174 
she (= her). 232 
shifted him away, 228 
shore (= sheared), 244 
should (= could), 223 
shouldst, 221 
shrewd, 221 
shrift, 210 
shut up in, 225 
sibyl, 224 

siege (= rank), 177 
simpleness. 188 
sir (ironical), 199 
sith, 221 



Index of Words and Phrases 263 



skillet, 190 
sleeps (noun), 221 
slipper (adjective), 200 
slubber, 187 
snipe, 192 
snorting, 175 
so (= if), 219 
something (adverb), 205 
sorry (= sore), 224 
Spartan dog, 248 
speak parrot, 207 
speak within door, 235 
speculation, 189 
spend your rich opinion, 

205 
spite of hell, 228 
splinter, 207 
squire (contemptuous), 

235 
stamp, 200 
stand in act, 176 
startingly 224 
stay the meat, 236 
stead (= help), 192 
still (= ever), 184 
stillness, 205 
stings, 191 

stones (of thunder), 245 
stood in your action, 182 
stop (= hindrance), 245 
stoup, 202 
strain. 215 
strangeness, 2to 
stubbornness, 237 
stuff o' the conscience, 

177 
success, 214 
such another, 230 
sudden, 201 
sufferance, 194 
suggest (= tempt), 208 
super-subtle, 192 
supplied (= gratified) , 

227 
sweeting, 206 
sword of Spain, 245 
syrups, 219 



ta'en order, 242 

ta'en out (= copied), 218, 
226 

tainting, 200 

taken off, 246 

talk (= talk idly), 237 

talk me, 224 

tall (ship), 197 

teem, 231 

than (transposed), 240 

that, 174, 181, 206, 235 

theoric, 173 

thick lips, 174 

thin habits, 183 

though, 212 

thrice driven, 187 

thrive, 183 

time of scorn, 233 

tinder, 175 

to (omitted), 205, 211 

to the advantage, 218 

to do, 238 

toged, 173 

toy ( = whim), 226 

toys (= trifles), 189 

trash, 201, 240 

traverse, 192 

trimmed in forms and vis- 
ages, 174 

turned Turks, 204 

twiggen, 204 

twinned, 205 

unauthorized (accent), 

226 
unbitted, 191 
unblest, 207, 240 
unbonneted, 178 
unbookish, 229 
uncapable, 237 
undertaker, 231 
unfolding, to my, 188 
unhandsome, 226 
unhatched, 225 
unhoused, 178 
unlace, 205 
unperfectness, 207 



unproper, 228 
unprovide, 230 
unsure, 213 
upon my sleeve, 174 
use (= custom), 231 
uses (= manners), 239 

vanity, 235 

vantage, to the, 238 

Veronese, 194 

very fain, 230 

vessel, 234 

virtuous (=powerful), 

225 
voluble, 200 

wage (= hazard), 181 
warrior, 199, 226 
watch him tame, 210 
weaken motion, 180 
weaponed, 245 
wearing 1= clothes), 237 
well desired, 199 
well said, 198, 229, 240 
wench, 218, 245 
what 1= who), 207 
wheeling, 175 
white (play upon), 198 
who (= whom , 179 
wholesome, 209 
wife (= woman), 172 
wight, 198 
wind-shaked, 194 
with (=by), 195 
with all my heart. 231 
wive (verb), 195, 224 
womaned, 226 
worser, 175, 229 
wretch, 211 
wrought, 246 

yawn, 242 

yerked, 177 

yet (= as yet), 221 

yet (transposed), 212 

you have said, 236 

you were best, 178, 243 



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